Roars within shadows

Courtesy of the similarly talented Shauna McLarnon (Ummagma/Shameless PR), we have a collection of tracks which not only deserve attention, they simply demand it.

NYC-based, The 1865 has already left an ear gripping mark on 2019 with the release of their debut album, Don’t Tread On We!, and are ensuring it is leaving with a just as potent  slice of their inimitable sound through new single, John Brown’s Gat.

Formed in 2017, The 1865 embrace influences from the likes of Bad Brains, Jimi Hendrix, Muddy Waters, and Minor Threat to their sound and listening to the new single it is easy to imagine that X-Ray Spex are another to inspire their creative instincts. Taken from their first full-length, the track was written in honour of John Brown, “a white man who believed that African Americans should not be enslaved and eventually he lost his life on behalf of his Nubian brothers and sisters.”

Instantly the guitar of band founder Sacha Jenkins (The White Mandingos, The Wilding Incident) teases ears, its sonic nagging swiftly joined by the bold rhythms of drummer Chuck Treece. It is a compelling start only more irresistible once the tones of vocalist Carolyn “Honeychild” Coleman (Apollo Heights / The Veldt, Badawi) stirs up even greater enterprise and animation in the song. Constantly twisting and turning in unpredictability and contagious imagination, the song swept us up in its creative theatre and punk rock rapacity; emerging  as one of the best singles to pleasure our ears this year.

Just as captivating in its own unique way is the debut single from dark electronic collective Dispel. Rising in a senses embracing fusion of darkwave, synthpop, and gothic rock, Modal Consequence is an atmospherically caliginous hug of sound and intimation providing an enthralling teaser to the band’s first album due early next year.

Dispel is the creation of Scott Dispel, a founding member of hardcore band Face Value and also currently the drummer for TEXTBEAK. Within the band, he is joined by vocalist Ravensea and Sean Gallows, the trio reaping inspirations from artists such as Sisters of Mercy, Bauhaus, Clan of Xymox, Depeche Mode, VNV Nation, Delerium, The Misfits and The Cramps for a sound within the single which openly aligns familiar hues to bold new imagination.

Taken from their debut full-length, Lore, and “the moment where the Hero/Heroin takes that first step into that dangerous realm of the unknown” in their journey, Modal Consequence quickly envelops the listener in its dark hues, suggestive textures which prove as instinctively catchy as they are hauntingly sunless. Within that rich allure, the siren-esque tones of Ravensea captivate as she shares the drama and unknown horizons of the song’s protagonist.

With an Evanescence meets Nightwish breath to its electronic adventure, Modal Consequence quickly and firmly had us absorbed and keenly anticipating the arrival of Lore.

Another artist with a new album due early 2020 is Atlanta songstress K Michelle DuBois and she presents a magnetic appetiser in the shape of new single Feast or Famine. She admits she is not sure yet if the latest track will be part of the album’s collection of offerings yet such its inescapable captivation and another example of its creator’s instinct for exploring new and eclectic adventures, the song only provides a thick lure for its larger successor.

With guitarist Dan Dixon and drummer Chandler Rentz alongside on the song, DuBois weaves a sound enfolding eighties pop and electro inspirations in indie rock and darker textured flavours. There is a Stevie Nicks hue to her presence and the seduction of the music itself and equally echoes of the Blondie and Divinyls influence she welcomes though here too something individual arises from a rich blend and, within Feast or Famine, effortlessly enthrals.

The track harmonically shimmers into view, quickly catching its infectious stride as synth and rhythms unite in a catchy stroll over which DuBois’ vocals easily captivate. The electro pop heart within the rock bred body of the song pulsates, its charm a beacon for the bolder rock ‘n’ roll traits of the track to latch on to like a moth and from start to finish, it all together provides one riveting contagion.

Whether the track makes the final line-up of that upcoming album we will find out soon but it only sparks keen anticipation of that impending release as too does its predecessor, Waves Break, it similarly a virulent like of electro pop ‘n’ roll, with both available at https://kmichelledubois.bandcamp.com/track/feast-or-famine

Finally we eagerly suggest checking out the new EP from US shoegazers, The Veldt. The arresting Thanks to the Moth and Areanna Rose bears another collection of tracks soaked in the band’s distinct and soulful sound and infectiously takes ears and imagination on atmospheric adventures.

Consisting of identical twins Daniel (vocals, guitar) and Danny Chavis (guitar), Hayato Nakao (bass), Marvin Levi (drums) and Alex Cox (guitar), The Veldt has consistently sparked our imaginations since their releases first emerged in the late eighties/early nineties. Some have fired us up more than others but each flight of their mood thick sound has been a source of fascination and reward with Thanks to the Moth and Areanna Rose one of the most potent.

The band’s sound is bred on the essences of shoegaze, dream pop, and soul and woven into soundscapes which seduce as they envelop, almost devour the senses. They are emotive affairs as proven by the new EP which come thick in intimation, rich in intimacy, and drenched in catchiness. EP opener, The Color Of Love Is Blue immediately proves the suggestion, its initial melodic invitation an echo of eighties indie pop but wrapped in the atmospheric density and emotion which marks The Veldt sound and an individuality which we can only slightly compare to the little known and now demised Japanese band, Tokyo Chaos City.

From its great start, the EP only pulled us in with richer potency, the bewitching Black and Blue and its fuzz infested climate and Fit to be Tied through its virulent romance of ears wrapping greater seduction and pleasure on the senses. From Daniel’s compelling tones to every aspect of the band’s invasively spellbinding endeavours, the tracks tantalised and ensnared; traits which persist across one of the band’s most absorbing releases yet, both Camus and Dakini smothering infatuated ears with their own imagination consuming charm and drama as emotional intensity comes in equally hypnotic waves.

Completed by the A.R.Kane Mix of I Like The Way You Talk and a Carlos Bess / Jason Furlow Mix of Dakini, the relentlessly absorbing Thanks to the Moth and Areanna Rose is the epitome of captivation and indeed pleasure.

And that is a roundup of some striking offerings which to ignore will only mean missing out on some real pleasure.

 

Both John Brown’s Gat and Don’t Tread On We! from The 1865 are out now, available digitally via Apple Music, Spotify and directly from the band via Bandcamp, as well as numerous other online stores.

Upcoming live dates for The 1865:

Dec. 07, 2019 New York – The Kingsland (with H.R. and Human Rights, MAAFA, The Screws, Rebelmatic, Universe Ignore Her, Foxtails) – 18+ event

Jan. 09, 2020 New York – Max Fish (with Rebelmatic)

Jan. 18, 2010 New York – Brooklyn Academy of Music BAM Cafe ||| Black Rock Coalition Celebrates MLK (with Major Taylor) – All Ages / Free and Open To The Public

https://www.facebook.com/the1865band   https://twitter.com/the1865band   https://twitter.com/the1865band

Dispel’s Modal Consequence is available now @ https://dispelmusic.bandcamp.com/releases  as a free download with Lore set for release on January 10th, available on vinyl and CD, as well as digital download with pre-orders taken now @ https://www.dispelmusic.com/Album/

https://www.facebook.com/DispelMusicdotcom/

https://www.kmichelledubois.com/   https://www.facebook.com/KMichelleDuBoisMusic   https://twitter.com/kmichelledubois

Thanks to the Moth and Areanna Rose is available now @ https://theveldtmusic.bandcamp.com/releases

http://www.theveldtmusic.com   https://www.facebook.com/VeldtThe/   https://twitter.com/veldtthe

Pete RingMaster 26/11/2019

The Ugly Kings – Promised Land

With their debut album slated for release early next year, Australian rockers The Ugly Kings recently provided a rather flavoursome teaser for it with Promised Land. Offering two tracks cast in the band’s “power blues” sound, the EP weaves a temptation as atmospheric and haunting as it is bold and fiery, both songs rich in a potential suggesting that forthcoming full length just has to be checked out.

Formed in Melbourne in 2011, The Ugly Kings draw on the inspirations of bands such as Led Zeppelin, The Doors, The Black Keys, Muddy Waters, BB King, Black Sabbath, Dead Weather, and Royal Blood for their sound. It is a mix which brought the band’s mini-album, Of Sons, praise carrying attention in 2015 and now makes a striking invitation within Promised Land.

Though you can quibble whether a two track release is an EP or single, there is no denying Promised Land inescapably grabs ears and appetite with its title track. An opening sultry stroke of guitar courts the imagination though it is the instantly striking tones of vocalist Rusty which really hook attention; his potent presence backed by the imposing drama brooding beats of Andy. As further elements unite, the song raises to yet another level, hitting a majestic stroll which initially is almost predatory before becoming a celebratory fire of energy and suggestion.  Its masterful cycle repeats, increasing its hold on body and imagination second by second; the guitar of Christos creating a web of fiery temptation as the bass of Nick makes a grumbling, almost irritable trespass easy to greedily devour. Imposingly infectious and skilfully manipulative, the track is glorious and reason alone to explore that future album.

Even so, personal tastes just took to companion song, Wash Me Of My Sins, with instinctive lust. Like an aural equivalent of a flickering sepia hued film, the song shimmers with the twang of guitar and those ever compelling vocals. Its slow crawl is a shadow wrapped enticement more rejoice than funereal leading to an energy fuelled, spirit arousing canter which still embraces a reserved intensity in its dark country/psych rock canter. With a harmonic tapestry of voices around the ever compelling presence of Rusty, the song seduces listener involvement and imagination with sublime ease; just stealing best song honours and uniting in suggesting that the next encounter with The Ugly Kings is not to be missed.

Promised Land is out now and available @ https://theuglykings.bandcamp.com/album/promised-land

https://www.facebook.com/TheUglyKings/    https://twitter.com/theuglykings

Pete RingMaster 31/10/2017

Copyright RingMaster: MyFreeCopyright

Black Strobe – Godforsaken Roads

Photo Philippe levy.

An adventure which has the imagination bouncing around as enthusiastically as the body, Godforsaken Roads from French band Black Strobe, is an exhilarating stomp with more juicy flavours than a Pick ‘n’ Mix stand. The band’s new album is a tapestry of sound and enterprise which is as insatiable in its eclectic intent as it is contagious in its devilry. Seamlessly and inventively entwining fiery melodic rock and sultry blues spicery with a flirtatious electronic resourcefulness, and that brief description still only a thick hint of what is in store, the release simply lifts spirits and passions as one of the year’s most captivating and thrilling releases.

Black Strobe is the brainchild of Arnaud Rebotini, a Parisian musician and producer just as renowned for his instrumental electronic explorations released under his own name. Alongside this and a horde of remix work for the likes of Rammstein, Depeche Mode, The Rapture, Bloc Party, Nitzer Ebb, and Fischerspooner, Rebotini’s 1997 founded project has released a host of well- received singles and debut album Burn Your Own Church which saw its founder collaborating with Kill the DJ label head Ivan Smagghe. Live the band has equally earned potent acclaim, touring the likes of USA, South America, Japan, Australia, and Europe to great success and lighting up festivals such as Reading/Leeds, Sónar, Primavera, Pukkelpop, Dour, and Transmusicales. Now with guitarist Mathieu Zub, drummer Mathys Dubois, and bassist/keyboardist Benjamin Beaulieu alongside him, Rebotini and Black Strobe return with, we suggest, their finest moment yet, Godforsaken Roads.

Recent single Broken Phone Blues offers the first temptation and from its initial touch it is fair to say that Godforsaken Roads is in full control of excited attention and increasingly lustful emotions. An electro bubbling opens things up and is swiftly joined by the distinctive and dark toned voice of Rebotini. His voice has lured comparisons to Nick Cave and Johnny Cash and it is easy to see why as it sits somewhere between the two in expression and tone. Just as quickly a pulsating electro stroll adds its captivating invitation before guitars and bass align to jabbing beats to cast an irresistible canter over the senses. It is a virulently infectious electro rock romp which in some ways brings thoughts of The The and also Helldorado with its increasingly steamy ambience.

It is a tremendous start right away surpassed by the outstanding Monkey Glands. The track is an out and out rocker; again electro essences stirring up ears for a gripping entrance before vocals and riffs finding seeds in fifties rock ‘n’ 10646751_10152620336545266_4319895831447366858_nroll which in turn infuses even greater captivating colour into the devilish engagement. Wonderfully exhaustive in its dramatic vivacity and hungry energy, the track sets a new plateau for the album which the blues scented He Keeps On Calling Me matches with its smouldering sonic heat and melodic intrigue. Bass and guitars take centre stage alongside the relentlessly impressing voice of Rebotini, the song a forcibly seductive yet controlled spaghetti western spiced drama standing tall like a mix of Nick Cave and Fatima Mansions.

Both Blues Fight and For Those Who Came on Earth Thru The Devil Asshole keep ears and appetite hungry for the album. The first draws on a steamy funk hue to ripen its sultrily woven blues rock climate, with the guitars showing a growl and bass a throaty predation to temper the flirty swing and electro tantalising of the track. It all unites in another ridiculously catchy and addictive proposition with a touch of De Staat to it. Its successor idles in on a slow melodic and vocal croon embraced by an exotic electro teasing within a portentous and ever darkening keys bred atmosphere. It is a compelling encounter which feels like it is brewing up to a major fire, and at moments comes close, but almost taunting the listener instead just ebbs and flows with an intoxicating evocative charm and intensity which is just as gripping.

The two triumphs are emulated and over shadowed a little by the delicious cover of Johnny Cash’s Folsom Prison Blues. Held in a transfixing electronic embrace only, the song is given an exceptional make-over. Rebotini strokes its body with an individual vocal delivery but the same shadowed irresistibility as offered by Cash whilst keys simply create a seducing beauty which steals the passions whilst keeping the unique expression and presence the legendary song has always held. It is a stunning offering backed up right away by the heated temptation of Swamp Fever, a song mixing acoustic and blues rock with electro elegance around one of the most infectious and anthemic choruses on the album.

House Of Good Lovin’ revisits a fifties rock enterprise for its agitated rumble of addictive beats and blues soaked guitar endeavour; think Muddy Waters and Joe Cocker with definitely a twist of The Cramps and you get another riveting incitement on Godforsaken Roads. It though only warms up the passions for Dumped Boogie and From The Gutter. Both tracks provide a masterful feet enslaving temptation, the first riding a steamy wave of electronic contagion and the second bringing a less urgent but just as enticing electro pop waltz reminiscent of Heaven 17 to transfix body and emotions.

Levels slip slightly with Going Back Home, a dance floor spawned encounter which still shines with beacon like strength within the album but to be honest is less appetising for personal tastes, but raised again somewhat with Boogie in Zero Gravity, one of two songs exclusive to the digital copy of the album. With a touch of The Correspondents about it, the song is a tempered yet persuasive dance which though not at the heights of the more rock infused tracks leaves satisfaction full.

The album is completed by Promised Moon, a song seemingly bred under the influence of The Beatles’ Get Back and on the digital version by The Girl From The Bayou; the pair further inescapable temptations without casting the same potency of suasion as earlier encounters upon Godforsaken Roads. They still add a fine end to an exceptional release though which simultaneously nostalgic and innovative as it weaves an epidemic of ingenious sound and body gripping enterprise.

Godforsaken Roads is released on CD and vinyl 6th October via Blackstrobe Records/K7 Records and digitally @ https://itunes.apple.com/gb/album/id903413308

http://blackstroberecords.com/

https://www.facebook.com/BlackStrobe.Official

RingMaster 06/10/2014

Copyright RingMaster: MyFreeCopyright

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Gwyn Ashton – Radiogram

Following up his acclaimed 2009 album, Two-Man Blues Army, blues guitarist Gwyn Ashton returns with new release Radiogram, a ten track feast of thrilling and sizzling guitar passion. With drummer Kev Hickman alongside, Ashton had created an album which shows why he is so highly rated by the likes of Robert Plant, Johnny Winter, and Don Airey. Radiogram is a vibrant slice of blues driven rock n roll, a collection of songs which burst through the ear with enterprise, invention, and mesmerising skill.

Welsh born and an Australian resident since the mid sixties to the nineties, the now European based Ashton has drawn great and eager responses to his music and play since picking up the guitar at age 12 and playing in his first band when 16. Across the past couple of decades he has toured with the likes of BB King, Ray Charles, Buddy Guy, Mick Taylor, Rory Gallagher, Peter Green, Junior Wells, Johnny Winter, Canned Heat, Robin Trower, Jeff Healey, The Yardbirds, Status Quo, and Magnum, whilst recorded with such luminaries as Kim Wilson (Fabulous Thunderbirds), Robbie Blunt (Robert Plant), Chris Glen/Ted McKenna (SAHB, MSG), Don Airey (Deep Purple, Whitesnake, Rainbow, Black Sabbath, Ozzy Osbourne), and Gerry McAvoy/Brendan O’Neill (Rory Gallagher). It is a CV to ignite the passions, something his new album easily emulates.

The sixth album from Ashton also finds an array of high profile guests involved alongside he and Hickman, those involved including  Don Airey, Kim Wilson, Robbie Blunt, Johnny Mastro (LA’s Mama’s Boys), Mark Stanway (Magnum, Phil Lynott), and Mo Birch (UB40, Go West, Culture Club). Radiogram only takes the length of its initial soundbite before enticing the emotions to wake up and pay full attention. Once into its stride opener Little Girl sizzles with heated riffs and forceful rhythms whilst the strong vocals cap the impressive first engagement of accomplished rock n roll. The track saunters and dawdles in turn as Ashton leaves fiery sonic shards across the song for a stirring start.

The album is a release which with great variety continually leaves one excited and wholly satisfied. Songs like the brilliant and best track on the album, Let Me In, with its teasing blues swagger and great mouth organ mastery, the classic sounding Dog Eat Dog, and the smouldering For Your Love to just pick a trio, all lifting one up in irresistible muscular arms to devour with ease their compulsive and rich majestic sounds from full imaginative hearts. The album is a release which you do not have to be a blues enthusiast to draw much pleasure from, even those with harder more abrasive tastes like us cannot avoid being magnetised by the craft and stirring sounds at work.

Also featuring a great version of the Willie Dixon/Muddy Waters song I Just Wanna Make Love To You and the simply hypnotic instrumental Bluz For Roy which closes the album and alone shows why the guitarist is so strongly thought of, Radiogram is one of the best  rock albums to appear this year. Gwyn Ashton may still be an undiscovered name for many outside of blues but the album will certainly go a long way to changing that as its impressive sounds reach wider searching ears.

www.gwynashton.com

RingMaster 29/10/2012

Copyright RingMaster: MyFreeCopyright