Sly Palms – Self Titled EP

As they introduced themselves to us with their debut release, we introduce you to the individual Weirdo Wonk sounds of Sly Palms and one magnetically enjoyable self-titled debut EP. From the ever giving Bristol music scene, the British quintet brew up their own individual fusion of garage, psych, and blues rock described as “Nick Cave meets Go Go Bordello through the Doors.” All are references which add up as you listen to the five tracks making up their first release but also imagine the involvement of essences from My Baby, 13th Floor Elevators, and Horse Party and you have a fuller if still not quite accurate inkling to the band’s imaginative adventure.

Recorded at Malthouse Studios with Dom Mitchinson (Spectres, Oliver Wilde), the EP quickly has ears enticed with Bottle Of Sin, the new single from Sly Palms. Immediately the opener teases and tempts with its spicy percussive grooving and new wave like movement, early XTC coming to mind in the song’s unpredictable quirkiness before things settle a touch around the vocal lure of keyboardist Louise Schwarz. Poking beats and jabbing swings collude with her fine vocals, that eighties hue merging with a brewing blues revelry as the song grows even more flirtatious and irresistible with each passing second. Additional discord only adds to the pleasure, the song mere notes away from chaos at times and only blossoming with boldness because of it.

Things are a touch more reserved from hereon in across the EP but no less enjoyable as the swarthy rock ‘n’ roll of Spanish Song proves. With sultry blues melodies uniting with hazy psych nurtured sighs, the song has the same mischievous nature as its predecessor but strolls along with a less agitated gait. Lead vocals this time are taken by guitarist Ian Cross, or it could be fellow string picker Alex Davies or indeed drummer Jake Cheesman; whoever the supplier their grainy tone only adds to the Tom Waits spiced proposal swiftly tempting and pleasing ears. The warm keys and floating harmonies of Schwarz similarly enthral and add to a creative drama which is no less potent within next up River Rhein. With a rockabilly/country rock coaxing to its catchy shuffle, the song has the body bouncing, gently at first but with increasing vigour as crescendos of rock ‘n’ roll erupt across its increasingly heated body.

The bass of Jaime Botella is a perpetually appetising throb within all tracks, adding an instinctive pulse and often growl which is especially alluring within the more unkempt climate of Slaughterhouse. The track is superb, challenging the first for best track honours with its rowdy rock ‘n’ roll and expectation defeating devilment of sound and imagination.

The more lo-fi presence and touch of Wall brings things to a potent close, the song a dance of harmonies and rattling rhythms as the band weaves another slice of off kilter sound as blues, garage, and psych rock as it is simply ear exciting rock ‘n’ roll.

With potential as vocal in every song as existing imagination and adventure, Sly Palms have made a powerfully persuasive introduction to themselves with their debut. Already they have nurtured something unique about themselves and intriguingly we, like they, have only just scratched the surface.

The Sly Palms EP is released July 14th.

14/07/17 – E.P. Launch Party @ The Old England

10/08/17 – The Louisiana, Bristol

24/11/17 – St. James’ Wine Vaults, Bath

https://www.facebook.com/SlyPalms/

Pete RingMaster 11/07/2017

Copyright RingMaster: MyFreeCopyright

Carnival Club – Magdalena’s Cape

Woven from the threads of numerous flavours which alone instinctively grab attention, the Carnival Club sound is a tapestry which certainly on the UK rocker’s debut EP, Magdalena’s Cape, blossoms from a rich first temptation to a lustfully devoured introduction thereon in. It is an infestation of the imagination nurtured in the creative mystique of prog rock, the hearty emotion of blues rock, the bold roar of sixties punk, and the hazy climate of psych rock. In truth, it is all that and more in a proposal and release which is as fresh and striking as it is the return of familiar sonic strains; an EP which offers the potential of a new essential force from within the ever pregnant Manchester music scene.

Emerging April 2016, the quartet of Eddie Moxon, George Peel, Joe Lodge, and Kai Jon Roberts quickly made a potent impression on the local scene. Now national awareness is being readied and stirred by the outfit’s maiden EP, its mature presence and rich web of sound belying the youth of its creators whilst consuming ears in an adventure bordering on the essential.

Opener House of Cards instantly entwines ears in one spicy groove, its psych blues tang soon aligned to the heavy throb of bass and crisply landing beats. Vocals make for just as potent bait as the song almost crawls into view before settling into a boisterous rock ‘n’ roll shuffle. With every groove and melodic tendril seemingly becoming thicker and richer in psychedelic/hard rock tenacity as impressive vocals equally grow in energy and presence, the EP quickly becomes a captivating proposal only increasing its grip as Mistakes Troubles and Kisses takes over.

The second track has a lighter touch compared to the heavy presence of its predecessor but an infectious swing built on pure rock muscle and emotive intensity. Its pop rock temptation is as much modern indie as it is seventies heavy rock, another fusion already revealing the kaleidoscopic canvas of the Carnival Club songwriting and sound. Its inescapably catchy body and unpredictable but fluid twists only seduce, passing on a willing submission to its bold charms to the following You’re So Hostile. It is a track even more virulently infectious with its eighties pop hooks and brooding rhythmic seducing which within seconds has the body bouncing and hips swerving with its flirtatiously weighty stroll while roaming the psyche like a blend of The Cult, My Baby, and The Doors; essences of Hendrix and goth rock only adding to its best track grabbing magnificence.

The EP’s title track steps forward next, Magdalena’s Cape a mellow caress wrapped in psychedelic wooziness and prog rock musing but with a tart spicing to its melodic  tempting, kind of like a distantly related fusion of The Jesus and Mary Chain and The Electric Prunes to try and give an impression of its sultry beauty.

Another mighty moment comes with the EP’s closing track, Headache a web of crunchy riffs and imposing textures around prowling vocals and stalking rhythms complete with sixties bred punk rapacity. Those stabbing riffs alone ignite the passions, the scythes of guitar and predacious grooves of bass escalating the primal attraction as the ever magnetic vocals seal the devilish deal on offer between song and listener.

It is a masterful and irresistible end to a just as successful release, one still carrying the potential of bigger, bolder, and greater successes ahead for Carnival Club. Magdalena’s Cape is the declaration of something mouth-watering and truly exciting breaking out within the northern music scene. With more of the same, national attention is surely guaranteed and with the realisation of the raw promise within, watch out world.

Magdalena’s Cape is out now through Demolition Diner Records as a digital download, on CD with an additional Ltd Gatefold CD version, and on Ltd Vinyl @ https://carnivalclub.bandcamp.com/track/magdalenas-cape

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

Pete RingMaster 16/05/2017

Copyright RingMaster: MyFreeCopyright

Black Mirrors – Funky Queen

 Black Mirrors Pic Nanna Dis 2016

BW, Black Mirrors, Belgium, Music, c Nanna Dis 2016

Every loud acclaim loaded whisper and incessant buzz needs something to back it up and that is exactly what Belgian rockers Black Mirrors do with their debut EP. The Brussels hailing quartet is one of the keenest new names on more and more keenly crowing lips and Funky Queen offers plenty of reasons why.

There is little we can give as background to the band but with their music doing all the talking on their Napalm Records released first EP, additional details can wait. The Black Mirrors sound is a myriad of flavours; at times it is bluesy and punky, in other moments a mix of grungy stoner and psych/heavy rock imagination, more often a blend and varying combination of all and more; a varying web easy to hear in just the four songs within Funky Queen alone. Imagine a boiling pot of essences from the likes of Queens Of The Stone Age, My Baby, Soundgarden, Janis Joplin, Jess and The Ancients Ones, and Led Zeppelin and you get a sense of the fevered sound seducing and rousing ears.

Funky Queen opens with its title track making first contact with gnarly riffs and controlled pounding beats contrasted by fuzz gifted harmonies. Swiftly a driving spine of swinging rhythms and grumbling grooves court the alluring tones of vocalist Marcella Di Troia, her magnetic presence and prowess matched by the infectious throes of the sounds around her. There is nothing to stop hips swerving and feet shuffling in league with the virulence, the track’s fusion of desert and blues rock almost tribal in its catchiness.

707_blackmirrors_cmyk_RingMasterReviewIt is a stunning track awakening ears and appetite with lusty zeal and setting them up for the garage rock and blues punk revelry of Kick Out The Jam. Winding around the dark bait of Gino Caponi’s bassline, the grooves and melodic flames from Pierre Lateur’s guitar sizzle as the sticks of drummer Nicolas Scalliet land with relish. Di Troia again stands vocally astride it all with commanding dexterity and vocal zeal, a union of enterprise in spirit raising rock ‘n’ roll providing a striking cover of the MC5 classic.

Actually it is four such escapades on offer, The Mess just as persuasive as it ventures on a slower more controlled stroll soaked in anthemic temptation and sultry melodic juices. Like a siren, the song draws ears and emotions in but the rewards are invigorating not dangerous, except to swinging hips quickly involved in the fiery seduction.

Canard Vengeur Masqué brings things to a invasively captivating close, the song also reserved in its gait but eager in its sonic and melodic tempting with Di Troia a seductress to sound and listener as rhythms twist and turn around glowing grooves and hooks keen to infest the psyche. There is a touch of the now demised British band Karn8 to the song and of the aforementioned My Baby too, but Black Mirrors for the fourth time in the EP stand individual and irresistible in ears and praise.

The Funky Queen EP is quite superb and will only accentuate the band’s already heady reputation while drawing a horde of newcomers to the bold seduction that is Black Mirrors.

Funky Queen is released March 3rd via Napalm Records across most stores.

Upcoming Live Dates:

07.03.2017 TU – Ankara / ODTÜ

06.04.2017 BE – Antwerp / Trix

w/ Horisont

16.03.17 DE – Hamburg / Logo

17.03.17 DE – Siegen / Vortex

18.03.17 DE – Düsseldorf / Pitcher

23.03.17 DE – Munich / Backstage

25.03.17 CH – Pratteln / Z7

26.03.17 AT – Vienna / Das Bach

27.03.17 AT – Salzburg / Rockhouse

28.03.17 DE – Mörlenbach-Weiher / Live Music Hall

29.03.17 DE – Lichtenfels / Paunchy Cats

30.03.17 DE – Berlin / Privatclub

http://www.blackmirrorsmusic.com/   https://www.facebook.com/blackmirrorsmusic   https://twitter.com/BlackMirrorsmus

Pete RingMaster 03/03/2017

Copyright RingMaster: MyFreeCopyright

Mannequin Death Squad – Eat Hate Regurgitate

mds_pic_RingMasterReview

After the rousing scuzz enticement of latest single KYMS, Australian duo Mannequin Death Squad uncage their debut mini-album Eat Hate Regurgitate to confirm all the mightily good things found in said single and it’s just as magnetic predecessor.

Emerging last year, Mannequin Death Squad consists of El and Dan; one girl, one boy who between them play and swap guitar and drums whilst offering their potent union of vocals. A striking presence on the Melbourne underground scene, the pair sparked attention with the single Sick earlier this year, following it up with the even more impressive and gripping KYMS a few weeks back. Both feature upon Eat Hate Regurgitate alongside a trio of new proposals which simply whip up attention and appetite for their scuzz punk devilry.

Released via the excellent UK indie Integrity Records (Million Dead, Horse Party, Valentiine), the release opens up with the raw magnetism of KYMS, a track raging “against the relentless pollution of our planet, the song inspired by a hatred of those who continue to defile and pollute the earth.” Plaintive strains of guitar make the first touch, swinging rhythms and caustic riffs the next as Dan vocally bursts into view with the warm tones of El in close attendance. It is raw and inviting, fiery and captivating, hooks and grooves a weave of temptation as the pair vocally dances around the senses. The track’s infectiousness is virulent but only part of the picture as darker shadows and textures blossom as the song progresses, its finale of an imposing and enjoyably oppressive nature breeding blues grooves and a sludgy climate before going out in a blaze of raw rock ‘n’ roll.

The impressive start is followed by Sick, a volcano of scathing pop punk with more bluesy flames in its melodic kiln as thumping and slightly predacious rhythms roam. Like a mix of My Baby, Karn8, and Valentiine, the track seizes ears and appetite swiftly, only tightening its hold midway as again the band suddenly twist into a whole new creative landscape which lifts things to another addictive level.

The muscular poppy romping of Sky comes next, its feisty canter carrying hues of bands such as Jack Killed Jill and The Melvins whilst creating its own character of unpredictability while Van Gogh snarls and aggressively bounces along before slipping into something more melodically and seductively comfortable. It is a strain of persuasion which switches between full-on assault and that bordering on salacious coaxing, casting a tempting which weakens knees in between having them feverishly stomping around. A great live air to the track only accentuates its glory, it challenging the opener for best track honours.

The album is concluded by the similarly addictive and enterprising Down, another swinging from bold energy to harmonic calm and leaving a greed for more in its wake. The track sums up everything great about Eat Hate Regurgitate and the Mannequin Death Squad sound in its four minutes plus and why so many are becoming rather excited about the twosome.

Eat Hate Regurgitate is released October 21st via Integrity Records.

https://www.facebook.com/mannequindeathsquad/   https://twitter.com/MannequinDsquad

Pete RingMaster 19/10/2016

Copyright RingMaster: MyFreeCopyright

Bluesness – The Last Valley Of Jupiter

Bluesness - The Last Valley Of Jupiter - cover_RingMasterReview

Bluesness comes from Porto in Portugal, a quartet with a sound living in character up to their name. Their style of blues is a flavoursome mix of modern and traditional embracing an instinctive catchiness which grabs ears with swift success. The Last Valley Of Jupiter is the band’s debut EP, and a highly accomplished ear pleasing introduction to a band it has proved to be.

Formed last year, Bluesness consists of vocalist Sara Jimmy, guitarist Ricardo Marques, bassist Vasco Pereira, and drummer Rúben Fernandes, a foursome bringing almost a decade of live and studio experience between them to the band. It is easy to hear that depth in experiences and know how within The Last Valley Of Jupiter, a strength on show straight away with opener My Kind Of People. Quickly maturity in songwriting and sound entices yet equally there is the hungry essence and bold imagination which comes with any new project. The track’s laid back start is a coaxing soon draped in sultry grooves with a fiery touch to their seductive tempting. The slow swing of the bass is just as welcoming, it providing great company to the instantly attractive and similarly delivered vocals of Jimmy. With the craft of Marques leaving trails of sonic flame behind his solo for extra spice, the track is a rich start to the release.

The EP’s title track saunters in next with the guitar spinning a web of enflamed grooves and smouldering melodies straight away as rhythms again share an inviting slow swing. Like a controlled fire, the song gently burns with emotive suggestiveness and sizzling flames of individual invention, it never quite finding the spark to match the energy of its predecessor but still captivating to the same degree before the southern rock spicing of Way Down meanders in on another seductive melody. There is a touch of My Baby to the song though Bluesness stays away from the more delta inspired textures of the Dutch/New Zealand bred band whilst serenading the ears.

Closing with the feistier canter of Dis-Connections, a piece of evocative rock ‘n’ roll as much a romance on the ear as it is a tenacious incitement on hips, The Last Valley Of Jupiter is a quickly and increasingly pleasing introduction to Bluesness. We cannot say that the blues is our forte here, but we know what we like and The Last Valley Of Jupiter easily fits the bill.

The Last Valley Of Jupiter EP is out now @ https://bluesness.bandcamp.com/

https://www.facebook.com/BluesnessBand/

Pete Ringmaster 18/05/2016

Copyright RingMaster: MyFreeCopyright

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

Victoria+Jean – Divine Love

V-J-_RingMasterReview

From the gorgeous artwork by Russian artist Oleg Dou through to the cinematic seducing which escapes each and every song, Divine Love is creative beauty involved with an imagination which simple leaves the listener lost in fascination. The imagination comes from Victoria+Jean, the episodes of aural drama from their debut album, and the brooding romance between listener and artist from instincts that just know when something transcends just ear food.

The band is the artistic and romantic union of Swedish born vocalist Victoria and Belgian guitarist Jean. Brought up in London and moving to Paris where she began her first career as a model, Victoria was a musician at heart and was signed as a solo artist aged 16 by a French major label, though she broke her four-album deal before releasing her debut, unable to make the compromises demanded upon her by the label. Moving to Belgium she met Jean and the couple began a career “motivated by encounters, travels and sound.” We have simplified the background for and leading to the project and union of the pair, with not for the first or indeed last time, Divine Love demanding to be the focus of attention.

art_RingMasterReviewIn creating the album, the duo sent their 12 tracks to their favourite producers with the request of collaboration for the release. The list included the likes of John Parish (PJ Harvey, Goldfrapp), Rob Kirwan (The Horrors, Depeche Mode), Christopher Berg (The Knife), Ian Caple (Tricky, Kate Bush), Joe Hirst (Stone Roses), Alistair Chant (PJ Harvey & John Parish), and Lucas Chauvière (De La Soul). As evidence of things being meant to be, each freely chose the same track Victoria+Jean had intended and hoped for them; a move and success which only adds to the album’s vastly diverse and eclectic character.

Divine Love opens with its title track and the duo’s new single. Within seconds the electronic mystique and ambience of the track has ears and imagination enthralled, the sixties cinematic drama in tone and air providing a great sense of mystery reinforced by the celestial caresses of Victoria’s mesmeric vocals. The gentle and elegant jangle of guitar equally brings rich suggestiveness to the enveloping theatre of dark charm and atmospheric tempting. There is no escaping a Portishead like essence to the bewitching encounter though equally artists like Propaganda and in a small way The Sugarcubes also offer their scent to its evocation.

It is a glorious start followed by the ridiculously irresistible Holly. From an initial lure of fuzzy guitar and mischievous beats, the song soon swings along with a virulent infectiousness which barely needs a handful of seconds to have hips swaying and spirit smiling. Victoria’s voice dances upon the compelling strands of sound, mixing composed moments with soaring harmonics as rhythms dance with addictive tenacity. As provocative in word as it is in sound, the track is sensational; growing with each twist of its musical theatre and lust inspiring alchemy.

Big Billie comes next, coaxing ears with raw blues guitar before thumping rhythms surround the tangy expressive tones of Victoria. Jean’s imagination continues to weave a sultry web of sound and enterprise to surround the tribal beats and descriptive vocals; a provocative blend playing like a mix of The Creatures and My Baby. Enthralling and igniting the senses it makes way for Until It Breaks and its brooding climate of sinister shadows and electronic espionage. As all songs, it has the imagination casting its own adventures to align with that of the song itself, sparking closer involvement between ears and song which is echoed again by Why Won’t You and its delta blues laced tango.

Across the fiery sonic and rhythmic trespass of Your Baby Don’t Know Me and Firecracker, things only get more boldly flirtatious and grouchily confrontational. The first is a prowling beast of a track with a touch of De Staat to its predacious noise rock infested waltz whilst its successor, while employing a similar dark rhythmic throb, courts techno fuelled ingenuity. It is a collusion which just gets more dynamic, agitated, and schizophrenic across its three body involving minutes, like its predecessor inciting a greedier appetite for Divine Love before a haunting beauty cast with a vibrant calm hugs ears through Härligt Sverige. Tantalising harmonies float around the poetic tones of Victoria, they skirted by resonating beats and the low key repetitive niggle of guitars. Winy tendrils vein the piece too; Jean creating an increasingly climactic drama matched by the vocal emotion equally gripping attention.

Ears and pleasure become engrossed in more blues bred invention through Takes You Like A Rose and Where We Belong next, the latter tempering the flavour with a bewitching folk seeded hug of melody and harmony before creating a tempestuous showdown of sound and emotive theatre. It is a glorious slice of aural cinema, again visual interpretation quickly inspired by the song and indeed Pull The Trigger which follows. Rhythms and percussive enterprise tease and play with ears before hitting an imposing stride entangled in sonic and vocal imagination. Anthemic and intimate within every writhing twist and turn of its excellent proposal, the track is like a hex on body and thought.

Closing with the epic spatial and atmospheric romancing of Define Love, an immersion into electronic and vocally harmonic reflection, Divine Love is one of the most enthralling and in turn invigorating releases heard in a long time. Every song provides an individual and compelling exploration still revealing fresh rewards after numerous listens. The album has plenty for fans of blues and rock ‘n’ roll, ambience and electronica, pop and dance and with a host of videos also accompanying each song, Divine Love is nothing less than essential listening and viewing.

Divine Love is released April 29th via FY Records at https://itunes.apple.com/be/album/divine-love/id1089239770?app=itune and across most online stores.

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

Pete RingMaster 26/04/2016

Copyright RingMaster: MyFreeCopyright

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

Bernaccia – Awake

Bernaccia_RingMasterReview

British neo-psych rockers Bernaccia has perpetually caught ears and expectations by surprise with their insistently magnetic fusion of psychedelic mystery and desert blues atmospherics driven by tribalistic rhythms. Indeed across EPs and singles, the Newcastle band has grown into one of the UK’s most compelling propositions, beguiling and seducing with their dark and often cinematic rock ‘n’ roll. New single Awake though has arguably provided the biggest and admittedly most flavoursome twist yet with the ear catching addition of vocalist Ellen Chetcuti to the band’s ranks.

From their 2014 released Cinema EP, the foursome of vocalist/guitarist Jonny Noble, synthist Stew Falkous, bassist Kieran Healy, and drummer Chris Cox has persistently and increasingly lured attention and acclaim with their fascinating darkly lit psych/melodic rock explorations. Equally their live presence has only reinforced the potency of their emergence as shows with the likes of Royal Blood, Lola Colt, Alabama 3, The Fall, Twisted Wheel, CUD, and Wolf People have come and successfully passed alongside the release of impressive proposals like the heftily acclaimed Light//-//Dark EP and last single Power To The Hills. The well-received track was the band’s most intense and dark tapestry of sound and imagination yet and now more than matched by the brighter lit but just as rousing and immersive Awake.

Keys caress ears initially as a percussive shuffle dances with the imagination. Swiftly the unexpected and quickly embraced voice of Chetcuti slips in. Listening to a release before doing research, especially in regard to a band already well known, can often catch expectations out, and here the presence of the band’s newest member certainly provided a rewarding surprise. In no time, Noble’s familiar dark tones step forwards alongside Chetcuti’s, synths rising with suggestive and exotic flames around their alternating and merging persuasions as ears and thoughts are quickly entangled in the song’s thick and shadowed drama. Drenched in similarly immersive atmospheric smog, the track reveals great blues and at times eighties new wave enterprise, playing like a mix of My Baby, Jingo, and King Trigger whilst emerging as another unique Bernaccia adventure.

Increasingly anthemic and spirit rousing with each one of its inciting minutes, Awake is a new step in the gripping rise of Bernaccia. Why the band’s dark and often sinister romances of body and imagination have not made then a name on the lips of multitudes it is hard to understand but maybe Awake will be the spark to tempt the broadest spotlights that the band deserves.

Awake is released April 8th via iTunes and other stores.

Upcoming Live Shows:

April 8th Club Fandango Presents – The Old Blue Last – London

April 28th TS ONE – Middlesbrough

April 30th Sawmill Sessions – Darlington

May 7th The Polar Bear – Hull

May 21st The Mining Institute – Newcastle

https://www.facebook.com/BernacciaMusic    http://twitter.com/bernaccia

Pete RingMaster 28/03/2016

Copyright RingMaster: MyFreeCopyright

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