Cat Dail – Fight for Love

Sparking a spring in the step as it dances with the imagination, Fight for Love is the new release from US singer songwriter Cat Dail. It is a seven track offering which creates a web of styles and flavours woven into one irresistible party for ears with the Chesterfield, NH bred Cat. She has been a potent participant in her national Indie rock scene since the nineties and surely is now about to tempt far broader attention with this contagion fuelled new album.

Not only as a whole but individually the songs within Fight for Love are joyful conspiracies of sound. Whether you call its instincts as pop, rock, funk, blues or whatever, and all apply song by song, the fusion of flavours is a perpetually imaginative and magnet combination. Each track has a unique personality and invention united in the welcoming enterprise of Cat’s voice and lyrical temptation.

The EP begins with Can’t Buy Love, the song slipping in on a rhythmic impulse to spread a tantalising climate of woozy intimation and sound around the immediately engaging tones of Cat. Seductively haunting and suggestive in its melodic air, the song similarly captivates with its hip sparking sway and slow but lithe gait; the craft of guitarist/bassist Teddy Kumpel and drummer Shawn Pelton, as across the whole release, matching the prowess of Cat. Surf, blues, and country spices all add to the smoky temptation getting the EP off to an ear grabbing start.

Similar hues collude in the following Player, a slice of rock funkiness and melodic rock with a whiff of Fleetwood Mac to its lively stroll. Once more the vocals just dance on the ears as they lyrically tease, the song’s imagination just as rich and pleasurable as the song fluidly ebbs and flows in its constantly inspiring energy before Catch Fire grips feet and hips with its mellower but just as manipulative shuffle. Reggae nurtured flavours unite with surf rock currents as the song flirtatiously entices, a country twang teasing in its swarthy air.

Both tracks just hit the spot though are still eclipsed by the following Wonder Love, a heavier slice of pop ‘n’ rock which almost prowls the senses before uncaging one inescapably catchy chorus. Everything about the track is pure temptation amidst creative manoeuvres which just got under the skin in swift time, again an array of flavours combining to charm and bewitch.

Featuring trombonist Clark Gayton and Steven Bernstein on slide trumpet, Flow Zone is equally as compelling and joyous with its Talking Heads meets Molotov Jukebox conjured canter. Unsurprisingly another individual collage of flavours is honed into an ear gripping adventure around rhythms which alone incite body and spirit to indulge. It all adds up to the best track on the release, one which lingers and teases long past its departure.

The EP concludes with the pair of She Can Fly and Molly & Matchbox. The first offers an alluring sunshine of pop lined sound, a radiant embrace of melodic romance added to by the keys of Andy Erin and led by the perpetually tempting voice of Cat. Its successor is a country rock bred encounter with sultry climes and melodies around instinctively open vocals and words. There is also a fire in its belly which bubbles up from the song’s natural simmer and though, simply down to personal tastes, the song did not thrill as its predecessors it still ensured the album closed on an unmistakable high.

However you wish to describe Cat Dail’s sound, which as its press release asks “Is it Blues? Funk? Rock? Soul? Folk?” it is sheer magnetism and pleasure within Fight for Love, a record which puts a smile on the face and in the spirit.

Fight for Love is available now @ https://store.cdbaby.com/cd/kyalb01283297 and https://catdail.bandcamp.com/album/fight-for-love

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

Pete RingMaster 26/06/2018

Copyright RingMaster: MyFreeCopyright

Cut Throat Francis – Ghosts EP (Extended Edition)

Originally unveiled last year, the Ghosts EP from UK outfit Cut Throat Francis has just had a re-release as an extended edition through ScreamLite Records. Offering four slices of the Bristol band’s acoustic gypsy folk swing, the release is a second chance for those missing its first appearance to discover a juicy treat for ears and body; one which really should not be missed.

Formed in the summer of 2017, the quartet of vocalist/percussionist Harriet Hayes, guitarist Randolf Morton, bassist Danny Riches, and Jonny Staines on mandolin and banjo quickly whipped up local attention and venues with the lively flirtatious sound now fuelling their debut EP backed by successful festival appearances. The second unveiling of Ghosts given the push it deserves will surely give a potent nudge to richer and broader attention, national appetites destined to be on greed alert hereon in with the luck all introductions need.

The EP opens with the quite irresistible I’m Not Ready; the song four minutes plus of virulent energy and infectious enterprise. A stroke of guitar is the first tease, Hayes’ magnetic voice the second with swinging grooves wearing Eastern European flavouring swiftly following. Like a blend of Molotov Jukebox and The Penny Black Remedy flirting with The BeauBowBelles, the track had feet shifting and hips swinging in no time with its chorus seeing a bold escalation as vocal chords also refused to show restraint.

Individual prowess is as rich behind the song as united enterprise, a core just as potent as the EP’s title track follows. Ghosts is a gentle serenade with a just as tenacious if more understated swing compared to its predecessor. Magnetism is certainly as thick and forceful though, Hayes’ alluring tones as strongly backed by the voices of the rest of the band and their melodic manipulations. Once more an instinctive sway took hold of us to match the song’s; it’s inescapable contagion deceitful in its apparent calm but perpetually fuelled by the lope of the bass and the caress of the various picked strings.

New track Hubert is next, another sauntering along with a knowing swagger bringing a touch of bands like Tanks The Henge with it through its more gypsy punk nature. Male vocals lead this time, their raw rasp a great lilt contrasting the warmer textures making up its melodic swerve, one soon infesting limbs and heart.

The EP ends with These Last Kind Words, a track featuring the guest fiddle prowess of Susan Moffatt. It too has a gypsy punk edge to its vibrant folk canter, banjo whipping up song and appetite with its mischievous chords as vocals entice. Feeling like it was recorded live, the track is a rousing conclusion to one highly addictive proposition, one suggesting seeing the band live has to be a must at some point in time.

Quite simply, the Ghosts EP is a treat and if like for us it escaped you first time around we suggest you make amends now; just be sure to get your hips and imaginations are ready.

The Ghosts EP is available now through ScreamLite Records @ https://screamliterecords.bandcamp.com/

https://www.cutthroatfrancis.com/   https://www.facebook.com/cutthroatfrancis/

Pete RingMaster 05/06/2018

Copyright RingMaster: MyFreeCopyright

Ward XVI – The Art Of Manipulation

Grabbing attention, certainly for a moment or two is pretty much within the ability of most artists with an inkling of imagination in their sound and presentation; sustaining it across a parade of tracks and releases is not so easy but a prowess well within the capabilities of British outfit Ward XVI. They poked at ears and an initial awareness of their individual adventure with a self-titled debut EP in 2015 and now truly stoke the fires of both with their first album. The Art Of Manipulation is a 16-track escapade as diverse and bold in flavours as it is compelling in theatrical imagination and oh so enjoyable and fun.

Hailing from Preston, Ward XVI is a sextet of musicians bringing an array of widespread inspirations into their individual and united creativity. Since the release of that first EP, the band has shared stages with the likes of William Control and The Men that will not be Blamed for Nothing, played the main stage at O2 Academy Leeds in the final of the Soundwaves Music Competition, and increased their reputation and success across their native North West with a host of headlining shows. Recently signing with Germany’s Rock ’N’ Growl Records, the band is now teasing and tempting national recognition with The Art Of Manipulation, a release which has you rocking in body and imagination from start to finish with its multi-flavoured avant-garde rock.

A concept album telling the introspective story of a female psychopath locked away in a high security asylum, each track a delving into her past life and telling the story of how she manipulated a man into killing for her using her feminine charm, The Art Of Manipulation introduces itself with doctor and protagonist tempting and contemplating the story leading to the waiting embrace of Ward XVI. Take My Hand emerges from its lead, melancholic guitar and keys caressing the senses as vocalist Psychoberrie adds her potent lures to its entrance. Soon a gentle stroll, the song swiftly reveals an infectious swing, a low key flirtation which soon finds a hungrier intent as the song explodes with a fusion of metal/rock tenacity. Two minutes of rousing rock ‘n’ roll, the song sets up appetite and attention with ease and ready for the album’s following title track. Again a mellow start beckons ears, guitars weaving an elegant web before the darker shadows of Beardy McStumble’s bass and the senses clipping beats of Jake step in. There is an elegant but portentous air to the joining keys of Min, a threat which ignites as the song slips into a tempestuous canter of riffs and rhythms led by the increasingly enticing and impressive tones of Psychoberrie. Theremin lures add to the intrigue and appetising character of the track, punk and metal essences colluding with the rapacious rock ‘n’ roll steered by the guitars of Lex Whittingham and Dr. Von Stottenstein with the song ebbing and flowing in energy and aggression across its eventful body, every second a tease and temptation to devour.

A verbal interlude bridges one rich highlight to another as The Flight takes over, the track at first a heavy boned hard rock stomp but soon surrounding its heady march with electro revelry. It is a glorious rousing mix, a fusion of flavours which, though not exactly in a similar sound, ignites the imagination like a fusion of Kontrust and Russkaja, heavy metal flames extra spicing to the fiery mix. By now the diversity of the Ward XVI sound is inescapable, a magnetic trait among many which continues into the next up and brilliant Crystal Ball. Instantly capturing ears with its open Stolen Babies inspiration, the song quickly adds some gypsy dance revelry to the mix, Min’s accordion a flirtatious enticement as it aligns with Molotov Jukebox like antics and emerges as another unique track in the Ward XVI asylum.

The piano nurtured beauty of Hold Me calms things down a touch, the key’s suggestive writing courted by spicy guitar strains and the bewitching voice of Psychoberrie as the song irresistibly serenades the senses. Becoming more volatile with each passing minute, the track keenly captivates before another revealing interlude splits its draw and the equally potent call of Blackened Heart. A heavy rock roar, the song shares its own creative dance of varied spices and individual craft to keep the pleasure flowing even though it misses the bolder attributes of other tracks around it such as Run For Your Lives. The track is a boisterous mix of antagonism and flirtation, the keys mixing gypsy punk with the hard rock throes of riffs and rhythms and with vocals just as textually mixed and gripping, irritability increasingly brewing in them as the sounds until the carnival dance of its finale, it is another pinnacle of an already highly addictive proposition.

Adrenochromania seduces like a dark dream, its predacious shadows and spatial melodic caresses a weave of emotional disorder and euphoria; a union careering towards rock ‘n’ roll psychosis which breaks with zeal and enterprise as the guitars subsequently sizzle and keys progressively weave with equal relish. Psychoberrie gives the recipe to manipulation within it all, her tones a lingering essence as the song departs for the lively electro rock ‘n’ roll of Cry Of The Siren to step up and stir up body and energy.

Its potent temptation is instantly overshadowed by the psychotic nursery room smile of Toybox, the song recalling Stolen Babies again with a touch of Venus De Vilo to the vocal dance of Psychoberrie. Accordion and guitars wrap around rhythmic trespasses as the song hits its full weighty voice though it is that initial innocence spawned discordance which steals the passions most on its subsequent return into the track’s muscular tempest.

The outstanding Inner Demon has ears and thoughts flared up again with its rapacious punk ‘n’ roll, hooks and grooves as dangerous as the edge in the vocals and the song’s rhythmic infestation of the senses. Providing another major highlight, the song brings another hue to the landscape and adventure of the album, as all those before it, pushing and stretching the band’s sound and drama to another slightly different and deranged quarter without losing the inherent infectiousness of the release.

The album closes with the track Ward XVI, its own and its inmate’s final destination reached. An initial keys crafted gentle start deceives; its suggestion of contrition and realisation soon consumed by the raging blaze of sound and intensity which erupts as the release burns its final success into the senses and imagination. It is a fine end to an encounter which offers a little more with every listen; a striking affair from a band we for one are already hungrily waiting to hear more from. The Art Of Manipulation is a must for the bold, musically adventurous, and yes slightly deranged.

The Art Of Manipulation is out now on Rock ’N’ Growl Records @ https://wardxvi.bandcamp.com/album/the-art-of-manipulation

http://www.wardxvi.com/     https://www.facebook.com/WardXVI/

Pete RingMaster 11/07/2017

Copyright RingMaster: MyFreeCopyright

Holly Holden y Su Banda – Tropical Soul

Putting on notice body curves and swerves, we suggest no summer will be complete without the exotically sexy and melancholically captivating Tropical Soul. Just as suitable for smouldering cold hugging nights before a flaming fire, the new EP from Holly Holden y Su Banda is a musical travelogue and emotional reflection to seduce ears and spirit. It is also one of the year’s biggest delights so far and potentially the moment an already acclaimed and eagerly followed singer songwriter comes under the biggest spotlights.

From London and with many years of her life also embracing the relative beauty and life of Cornwall, Bristol, and Berlin as well as just as inspiring travels, study, and musical collaboration within Latin America and the Caribbean, Holly Holden brings it all to her wonderfully eclectic and adventurous sound, perfectly tagged as tropical soul. Like music as a whole, it is a borderless proposition offering a worldly exploration for artist and listener.  Flavours from Cuba, Ecuador, Colombia, and Dominican Republic collude with Caribbean and European enterprise, a mix dancing and flirting round intimate and love nurtured reflections as irrepressibly evidenced by her new EP.

Already with plaudits for her 2012 formed collaborative project and album Xistence with Cuban rapper Alayo Style as X Planet, Holden linked up with guitarist Frank Clarke and drummer David Beauchamp in 2014, Holly Holden y Su Banda emerging from their combined venture. Seemingly persistently busy with her own shows and as part of female vocal group Deep Throat Choir who have just released debut album Be OK and Johnny Flynn and the Sussex Wit, things will surely become even more hectic and crazy as Tropical Soul infests bodies and imaginations.

The EP opens with the irresistible El Impulso, its inescapable temptation instantly teasing through Holden’s smiling bass throb, it courted by small but spicy sparks of guitar. Her voice is soon an energetic smile in ears too, slipping effortlessly between English and Spanish as melodies from Clarke’s guitar weave their warm coaxing. It is hard to truly give a proper reference to Holden’s music such its diverse and unique character and presence but a mix of Holly Walker, Regina Spektor, and Molotov Jukebox gives a pretty good idea of the pleasure waiting within Tropical Soul. With percussive scrapes and Beauchamp’s frisky beats, the song is manna for feet, hips, and enjoyment and still just about eclipsed by its successor.

The ska lined Run immediately has its swing emulated by flesh, its relaxed but tenacious stroll a lure of wonderful ska inspired riffs and rising flames of brass as Holden’s melodic croon contemplates aided by just as tasty harmonies. Across the release, contributions from percussionist Satin Singh, keyboardist Daniel Correa, trumpeter Will Roper, Marcos Caballero on tuba and alto saxophonist Sarah Parkes add their prowess to the trio, Clarke also a blast on sax. Who plays where I cannot say but as on the second track, it all makes for a captivating rhumba some might say addiction was invented for.

Dead Coral swings in next, its Caribbean spices and Cuban spotted grooves sharing infection as Holden effortlessly grips in voice and word. Again you know it is a proposal doing good as feet instinctively shuffle and bums bounce before bodies rise to full height and spring their lustful involvement, the proof in The RR office. To be honest such the power and potency of the sounds, the EP need a few listens before attention can delve deeper in the lyrical explorations of Holden, a just as rewarding discovery as personal and intimate thoughts are shared.

There is a definite feel of The Specials to Mellow Drama, its ska seeded keys and air carrying the lonely almost noir lit shadows of Ghost Town  yet tempered by the sultry sway and waltz of brass and guitars. The epitome of melancholic seduction and elegance, the song is a haunting bewitchment lingering long after its departure though within the release quickly replaced by the blues and reggae hued soul of the imposingly catchy Benji Muji Mau; another inescapable tempting for physical and vocal participation.

The EP is concluded by Born At The Right Time, a more low key incitement, though it is all relative, but still equipped with juicy hooks and rhythmic bait around the ever fetching tones of the lady. It also has its own blues seeded breath as guitar and trumpet align in rueful endeavour, a final imagination stroking smoulder to fly away with.

Like for so many others we suspect, Tropical Soul is our first global tour with Holly Holden y Su Banda; a thrilling escape for which no passport was needed; as her bio suggests Holly Holden’s music provides that.

Tropical Soul is released April 9^th.

http://www.hollyholdenmusic.com   https://www.facebook.com/hollyholdenmusik   https://twitter.com/HHoldenmusic

Pete RingMaster 30/03/2017

Copyright RingMaster: MyFreeCopyright

Vienna Ditto – Ticks EP

Pic Wildblanket Photography

Bringing their most eclectic sound and irresistible hex yet to follow up an eagerly acclaimed debut album, British duo Vienna Ditto are about to unveil new EP, Ticks. It is seven tracks of fiercely diverse and mesmeric aural imagination; a collection of encounters embracing voodoo rhythms, electrified blues temptation, and beguiling vocal dexterity honed into a septet of unique psyche twisting proposals.

From being child student and guitar teacher in 2000, creatively reuniting a decade later, vocalist/synthist Hatty Taylor and guitarist Nigel Firth have become one of the most intriguing and imaginatively unpredictable encounters within the British underground rock scene. The Oxford hailing band through EPs and singles since their first, a self-titled EP in 2011, has explored, nurtured, and uniquely spun a sound which has always fascinated but become increasingly more fascinating and spellbinding release by release. That growth and exploration accumulated in the release of their feverishly praised debut album, Circles, last year. With the release of Ticks and some hindsight though, the impressive album now feels like it was the end of the band’s first chapter, a rounding up of early ideas and successes providing a springboard into even darker and boldly adventurous escapades to experiment with, such as those making up the sensational Ticks.

The EP opens with its title track, a slice of quirky pop with wonky melodies and smouldering rhythmic grooves around the immediately siren-esque tones of Taylor. Beats play as a settling lure until the song opens up with an even darker tang to its grooves and new wave like hues to its hooks and excitable energy. Slipping back into that initial seductive coaxing, things down settle again though a lingering volatility is there waiting to fuel another round of the addictive chorus and the subsequent sinister emotive waltz and mischievous musical tango which begin entangling each other. The track is glorious and, as the EP, simply more infectious and imposingly addictive with every listen.

Tiny Tambourines follows up the thrilling start with a gentler melodic kiss on ears, though tantalising electronic incitement and an off-kilter rhythmic shuffle are also there courting the warmer hues of sound and Taylor’s ever evocative voice. The track is a fuzzy romancing of ears and imagination, again with a great tempestuousness which means unpredictability lurks at every twist and turn before the brilliant warped bossanova of Frank Account takes over. From the first strains of guitar, ears sense a festival is waiting to pounce, a few seconds more brings confirmation as strolling beats and swinging harmonies surround Taylor and the flirtatiously jazzy grooves and devilish hooks of Firth. Like a slightly deranged hybrid of The BeauBowBelles and Molotov Jukebox, the song bewitches and enslaves; taking body and imagination on a lively and provocative adventure.

The mesmeric blues croon of Motherless Child comes next, the song a melancholic serenade lined with sultry yet unsettling shadows within a brewing portrait of loneliness and loss cast by voice and melodic discordance. It is spellbinding stuff, becoming more potent with every listen; a quality admittedly every song holds including the haunting cinematic drama of My Way of Missing You. Maybe best described as Portishead meets Morcheeba whilst lost in a dark world shaped by Lydia Lunch or The Sugarcubes, or not, the song has thoughts drifting off into shadowy exploits as ears fall for its invasive and hypnotic beauty.

The band’s sound switches to a spirit sparking gospel character for next up Go Down Moses, an incitement with loco guitar revelry and twisted gothic blues ingenuity to create a sure fire passion igniting protagonist. Its dark rock ‘n’ roll joins the long list of momentously rousing songs and moments within Ticks quickly joined by closing track Come Back and its busy and sinuous landscape of textures and craft within a cosmopolitan theatre of sound. Alone leaving ears and appetite greedy for more, the song brings Ticks to a sensational end while revealing yet another aspect to the creative sorcery breeding the release.

Vienna Ditto is a band which keeps on impressing and providing adventures which continually surprise and excite as they themselves become bolder and more dramatically imaginative.

The Ticks EP is released 13th May 2016 via Ubiquity Project Recordings @ https://viennaditto.bandcamp.com/

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

Pete RingMaster 12/05/2016

Copyright RingMaster: MyFreeCopyright

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

The BeauBowBelles – A Thing of Reality

I will be honest, for the first time, other than rooting for Finland’s Lordi a few years back, there was a flicker of interest in this year’s Eurovision song contest once learning that the UK entry had a sound seeded in the ever infectious realm of swing. Any hopes and attention were defused of course once having heard the song and finding it had turned an instinctively contagious sound into something yawningly bland. It was poor old school with no adventure and modern imagination fuelling its proposal; once again the contest living up to its uninspiring reputation.

What does this have to do with the new proposition from The BeauBowBelles you are probably asking right now? Well the failure of seeing what is in and the choosing of what represents our voraciously inventive British music scene just leaves thoughts bewildered when, if we go down the swing road, the likes of the Electric Swing Circus, Molotov Jukebox, and especially The BeauBowBelles are creating irresistible and inventively magnificent propositions. Whether any of them would want to be involved in such an event is another question but each spins a web of virulently inventive escapades bred from diverse and colourful sounds, and this is where the seriously impressive A Thing of Reality, the debut album from The BeauBowBelles comes in.

The London quartet’s new melodic jaunt is a mouth-watering adventure of folk swing cast in unique sceneries of personal intimacy and expansive revelry with every track. It can stomp like a dance hall, seduce like a temptress, and reflect with emotive elegance, but whichever avenue a song escorts the imagination to it has body and attention enthralled. In many ways the delicious exploits of A Thing of Reality is no surprise having been spellbound by their first EP To The Moon in 2013 and a year later the single All Over That. They were sparkling appetisers for this first full-length dance but only a hint of its majesty too.

An album version of that last single opens up A Thing of Reality, and again as the first time around, All Over That easily captures the imagination with its opening embrace of melancholic yet smiling strings within seconds. No matter the number of times heard, the entrance of the song casts a spell, which the quartet of Bertie Anderson (vocals, violin), Emma Price (vocals, flutes, accordion, bells), Ros Wilks (vocals, violin, keytar), and Marcus Daborn (guitar, kickdrum), proceed to turn into a blaze of swirling devilry. That is a little down the line though, as guitar and a sultry kiss of brass light ears next, their coaxing the perfect company to the tantalising vocals. It is like an emotive waltz, a rising dance which is soon quick stepping with flirty riffs and mesmeric harmonies. Then the romp truly begins as thick basslines and vivacious energies descend on the senses, awakening an even more wanton appetite for its offerings. A gentle relaxation breaks the surge momentarily before the devilment swiftly returns for another whirl of rhythmic hips aligned to tenacious gypsy punk curves, all aligning for one infectious melodic shuffle.

The brilliant start is matched straight away by the following Lo Ho Down. Again a slow temptation brings the track into view, a reflective shanty of sound the initial invitation. It is also just an introduction to livelier things, a folk emprise with Celtic breath showing its light feet and keen moves soon after before drawing on even broader spices as a country and jazz persuasion adds their hues to the continually evolving canvas and gait of the contagion.

The summery charm of Blue Tree floats in next; it’s almost whimsical spots of melodic colour a smile on the ear within which voice and strings paint an increasingly colourful and vivid picture. There is a sixties pop air to the heart of the song and a classical elegance to the narrative of the violins and horns, both sparking up the imagination for the emerging anthemic stroll of the excellent encounter. Three tracks in and the album is as varied and creatively expansive as anyone could wish for and continuing to move into new pastures as the warm deceptive balladry of Sleep and the delicate flirtation of Fly Away seduce and serenade the senses. The first gentle strokes ears with its calm melodies and evocative textures yet has a mischief in its heart as it brews up a stirring chorus with invigorating rhythms and similarly gripping theatre. From a calm start the track turns into a chest beating, rattling romp of a croon and again has emotions and body lustfully involved. Its successor remains the serene host of bright melodies and magnetic adventure it initial portrays, though it too breeds a drama which adds an anthemic edge to it all.

A fifties rock ‘n’ roll revelry aligns to the insatiable energy of swing for Lotions, its rousing body and temptation a feisty waltz for feet and energies. The track makes for another mighty pinnacle on the album, from voices to percussion, strings to keys, and the rest, inescapable bait in a creative emprise stealing the passions. It is exhausting fun after which a breath can be taken with The Boy with a Boater on his Head, though it too is a transfixing sway. There is that particular English uniqueness to its music which no one else outside our shores can emulate but equally a country-esque whine and pop swagger makes rich spices in the fascinating mixture.

The graceful Sophie is a celestial kiss of harmonies and emotional intimacy, a resourceful ballad which as previous songs climbs from mere riveting hugs into almost riotously melodic dramas, keys especially poignant here. Its alluring smooch is subsequently followed by the vaudeville delights of Fools & Fairytales. The track ebbs and flows with cinematic essences and stage like performance from the sounds. It is like a soundtrack to a play wrapped in folk lore and personal exploration, and again aural theatre is the best way to describe the song and its spellbinding fantasy, that and ingenious majesty.

The smouldering seduction of Make Up brings the album to a close; its seventies psychedelic pop and classical grace an absorbing end to one irresistible and thrilling release. Certain songs overwhelm body and soul whilst the rest like an epidemic relentlessly seduce every pore; the result an irrepressible gest to light any and every day.

A Thing of Reality is available now digitally and on CD via Woodster Records @ http://thebeaubowbelles.bandcamp.com/album/a-thing-of-reality

http://www.thebeaubowbelles.com/

RingMaster 10/03/2015

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://reputationradio.yooco.org/

Cable Street Collective – The Best of Times

Back in the day, the UK was once under the spell of the South African kwela song Tom Hark. It was an encounter uncaged by The Piranhas which gripped the feet and bodies of a large chunk of the nation, an infectious scourge impossible to resist. Now the same kind of epidemic has been unleashed to infest the psyche and passions of the country again, only this time in comes in six insatiable devilments from London bred Cable Street Collective. Led by lead single Can’t Take Me Under, it alone an unscrupulous temptation, the band’s recently released debut EP The Best of Times is a decade of summers rolled into one addictive slice of worldly contagion, or as they call it, Carnival Pop.

Cable Street Collective formed in 2012, emerging at the same London open mic night that produced Denai Moore. With two of its members growing up in Swaziland and Malawi, inspirations and musical passions provide a varied weave from which the band’s dramatically compelling songs are bred. The same kwela influences which fuelled the success of the song from the Brighton band we first mentioned, finds an equally welcome home in the music of Cable Street Collective, but also do other rich flavours and styles from that part of the world alongside Latin enticements and more European bred spices from funk to ska, indie pop to swing, and that is still to peel all the layers from their music. Drawing acclaim with their energetic performances at festivals such as Bestival, Secret Garden Party, Boomtown Fair, and the Lake of Stars Festival in Malawi, the band has been laying down a trail of creative revelry since forming, one coming to its first gripping crescendo in The Best of Times.

The opening twenty second Intro is just a searching of a radio dial to find some flavoursome sounds, a success coming with the sultry sway of Wasted Hours which sidles up to ears in a seductive manner. The instantly magnetic vocals of Fiona Jane cast a warm welcome, an invitation matched by the throaty tones of the bass and the holiday flirtation of the guitars. Rhythms and beats energetically pop across the bubbly landscape thereafter as a dynamic revelry begins busying itself. Just as you get a handle on things and hips prepare to swing though, a great unpredictable mischief wrong-foots expectations. It is a brief and pleasing detour which returns again from time to time, but mere moments in a track which is soon back into its refreshing and magnetic shuffle as Fiona almost siren like incites the melodic temptation around her.

It only takes that one song, certainly here to be bound and enslaved by band and release, but to make sure escape is not an option, He’s on Fire erupts next with a thick rockabilly snarl of guitar. Rhythms are swiftly adding their tenacious bait, the bass especially virulent alongside just as dramatically alluring vocals. A song to bring the tenants of cemeteries to rigorous festive life, it is a rhythmic maelstrom complete with an addiction breeding melodic hex and vocals which stir up the devilry like a harmonic carnival barker.

Yin & Prang has a tangy ska like rascality to its kwela sculpted merriment whilst the twining of female and male vocals adds another great twist to an already individual romp. The bass once again lays down a delicious dark throated coaxing over which percussive adventure and diversity relishes its freedom, gripping bodies like a puppeteer as melodies and riffs spark with firework intensity across the mouth-watering escapade.

The sultry seventies funk kissed Interlude (Feel It Fall Apart) bridges its predecessor and the following Can’t Take Me Under, the pulsating instrumental a cauldron of feistily simmering magnetism. Seamlessly slipping out of its climactic heat, the new single sways its rhythmic hips under the song’s virulently smiling melodic enterprise. There is also a slight punkish edge to its character, the track coming over like a tasty mix of Sonic Boom Six and Molotov Jukebox whilst entertaining a wealth of other styles and essences in its infectious alchemy.

The EP is brought to a thrilling end by Two Cities, a more indie pop lined offering with a Holly Walker essence to the vocal and lyrical character of the song. Lyrically across the whole release, the band is just as vivacious and colourful, numerous lines and picture-esque word crafted scenes making their own flirtatious and memorable contributions to the breath-taking encounter.

     The Best of Times is a festival in the ears and a party in the emotions, and one of the most riotously thrilling proposals likely to be enjoyed this year. Cable Street Collective is edging to be our new favourite band, more offerings like this and it will be a done deal.

The Best of Times EP is available on iTunes @ https://itunes.apple.com/gb/album/the-best-of-times/id942762566 and as a physical release now @ http://www.cablestreetcollective.co.uk/?product=best-of-times-album whilst new single Can’t Take Me Under is available from February 16^th again through iTunes.

https://www.facebook.com/cablestreetcollective/

RingMaster 16/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today