Hypnosister – Self Titled EP

If the celestial angels took a night off from enchanting the skies with some spacey rock ‘n’ roll fuelled by earthbound fire and brimstone, the debut EP from Hypnosister would be the perfect centre piece of temptation. The six track offering craftily seduces as it boldly roars, enticingly caresses as it dramatically trespasses the senses. Simply put it is a real treat for ears and imagination

Hypnosister is the solo project of former Allusondrugs guitarist/songwriter Damian Hughes which the British artist unveiled mid-2017. Describing it as space pop, Hughes weaves an immediately individual and virulent sound inspired by the likes of My Bloody Valentine, Nirvana, and Neutral Milk Hotel. Early singles and live shows soon grabbed attention of fans and the likes of XFM’s John Kennedy, Punktastic and Upset Magazine; support and plaudits sure to be escalating through his first EP.

With no other hand but Hughes involved from writing and playing to recording and producing, the EP opens up with the truly irresistible Poorly Boy. The track rises up with drama and attractive tension in its tone, bringing its thick hues together to burst into an instantly rousing and infectious affair led by the potent voice of Hughes. Though under control, there is tempestuousness to the track which emerges in twists and an unpredictable enterprise that just gripped attention and a quickly forming appetite for the Hypnosister adventure. There is a touch of The Horrors to the song in certain moments too but merely one of the alluring hues in its individuality.

The following Bother emerges on cosmic currents, sauntering in on a slow but catchy swing as waves of infectiousness court its magnetic lures. Hughes’ guitar has something of Lester Square of The Monochrome Set to its character; hooks and melodies springing like tentacles upon the imagination within another gorgeous encounter before Breath injects an earthier presence to the EP’s spatial climate. A post punk lilt to the guitar is contrasted by Hughes’ harmonic but again slightly grainy vocals; the almost funereal gait of the song equally at complementary odds with the natural catchiness of the inescapable temptation.

Next up Ghost serenades ears with harmonic radiance but soon reveals its own wiry enterprise and muscular drama within the ethereal shimmer. Again creative tension just lifted track and the passions alike, giving an edge to its melodic seduction and spirit rousing roar while I’m Going To Die ventures into emotional shadows and dark hues without negating the organic contagiousness Hughes’ songs just seem to breed with ease. With a touch of sixties garage pop to its fuzzy glow and a bold brooding to its rhythmic enticement, the track brings yet another individual aspect to the EP and sound of Hypnosister.

The release concludes with new single Scribbles, a song with angst and psychosis to its emotions, words, and tone but unsurprisingly also has infectiousness which just gets under the skin with guile and a deceitful touch, manipulating and enslaving almost secretively by the second. Bookended with distorted carnival-esque intimation, the track is a mesmeric end to one ridiculously compelling encounter.

With distortion, almost discord infesting the craft of the guitars and fuzz coating its melodic and spatial beauty, the Hypnosister sound borders on creative alchemy, certainly offers undiluted temptation making the first EP an essential piece of space rock ‘n’ pop adventure.

The Hypnosister EP is out now via Sleep All Day Productions, available @ https://hypnosister.bigcartel.com/ and https://hypnosister.bandcamp.com/album/hypnosister-ep

https://www.hypnosister.co.uk/   https://www.facebook.com/hypn0sister/   https://twitter.com/hypn0sister

Pete RingMaster 09/08/2018

Copyright RingMaster: MyFreeCopyright

Mayflower Madame – Premonition EP

photo by Sven Santelmann

Though formed in 2011, it was the release of their debut album Observed in a Dream two years ago which awoke real attention upon Mayflower Madame, introducing them to a whole wealth of new fans, us included. It offered a compelling and increasingly gripping full taste of the band’s psych rock infested post punk. Ahead of a new album later this year the Norwegian outfit have unveiled the Premonition EP, a release which simply leaves that previous encounter in the shade and is already making anticipation for the band’s second album impatient.

Fresh from a US tour, the latest the Oslo quartet has undertaken beyond their homeland since the release of that first full-length, the band now no strangers to venturing across the UK, Europe, and N America, Mayflower Madame lures the listener into a new soundscape of their imagination fuelled sound with Premonition. Consisting of four tantalising propositions which can be, as the EP’s promo sheet suggests, “best described as apocalyptic love songs”, Premonition has a captivating calmness across its body which the previous release maybe evaded but equally a more virulent almost predacious craft and indeed seduction for a romance of impending darkness to embrace and fear.

The EP opens with its title track, a siren warning its arrival. From the midst of the threat an instantly compelling groove emerges, its calm but inescapable swing courted by additional melodic tendrils from the guitars of Håvard Haga and vocalist Trond Fagernes. It was pure temptation to our ears, the swarthy blend of their lures irresistible and swiftly complemented by the dark enticement of Kenneth Eknes’ atmosphere weaving synth and Fagernes’ potent voice. The rhythmic captivation of Petter Gudim Marberg’s bass and the crisp swings of drummer Ola J. Kyrkjeeide reinforced the grip the song quickly held, it only tightening its hold as the layers of psychedelically lit post punk infested body and psyche.

The following Before I Fall makes a similarly magnetic entrance, the bass of this time Fagernes walking magnetically through ears with the melodic intimation of the guitars for company.  Like a psych washed fusion of Dead Can Dance, My Bloody Valentine, and Fields Of The Nephilim, the song fascinated and tantalised in equal measure. Its heavy emotion and senses wrapping shadows unavoidably infested the imagination but equally the song tempted the body into calm but definite involvement even as its darkness consumed. The fact that the song did not bring the same lust as for its predecessor or successor is simply down to their might, the song only magnetism.

The best track to our ears is Alma’s Sermon, its swing and melodic dance manna to our musical instincts and passions. Flirting with both through something akin to The Orson Family assimilated by The Doors, the track ensnares ears with a hook which teases and pleasures as an insatiable creative appetite supports it from within a web of melodic suggestion from the guitars. All the while, rhythms manipulate attention and hips like a puppeteer with the tones of Fagernes as alluring as they shimmer and echo the song’s dark magnetism.

Spiders Seek with the opener is a close contender to that favourite track choice as it completes the release, the intrigue soaked encounter cinematic in its atmosphere, intimate in its breath. The keys simply seduced our ears, their seemingly familiar yet unique enterprise a spark for the imagination on their own, the suggested drama thoughts conjured only accentuated by the dark catchiness of the bass with Marberg back plucking the strings, the hypnotic stroll of the beats, and the guitar’s sonic wiring.

It is a superb end to a magnificent release. Observed in a Dream only pleasured and excited but the Premonition EP has left it in its wake with ease. Goodness knows what the band’s forthcoming full-length will do…We cannot wait.

The Premonition EP is out now digitally and on CD via the band’s own label Night Cult Records @ https://mayflowermadame.bandcamp.com  as well as being available on cassette via Black Verb Records (Germany), SpiderChild Records (US) and Custom Made Music (US).

https://www.facebook.com/mayflowermadame

Pete RingMaster 26/05/2018

Copyright RingMaster: MyFreeCopyright

 

Stellarscope – Standing In The Shadow Of Your Ghost

Evocatively invasive and seductive from its first to last breath, Standing In The Shadow Of Your Ghost is the new album from US outfit Stellarscope. Shaped by rousing yet darkly suggestive rhythms and driven by emotion strapped melodies within cinematically hued atmospherics, the release consumes as it ignites ears and imagination from pretty much its opening and seemingly intimate contemplation of “the pain of loss and the fear of an uncertain future.”

The creative union of vocalist/bassist/guitarist Tom Lugo and drummer Bob Forman, the band expanding with bassist/keyboardist Rob DeFlaviis and guitarist Edward Neenan live, Philadelphia hailing Stellarscope weave walls of sound from a relentlessly infectious blend of post punk, indie rock, shoegaze and more. Their music and songs devour the senses but simultaneously reveal a lively and eventful character which has the body bouncing and thoughts weaving, reactions fully inspired by Standing In The Shadow Of Your Ghost.

The album opens up with Don’t Belong and instantly has ears enthralled through a deep bass groove amidst boisterous beats as the guitar shares its fuzzy enterprise. The addition of Lugo’s voice, a delivery as warm as it is melancholic, enriches the swift coaxing and equally seems to spur a thicker scuzzy hue in the sounds around him. There is a sense of emotional desperation at times in his vocal presence too as his words reflect and explore in the fall-out of lost love. Richly captivating, like a fusion of My Bloody Valentine and Artery, the haunting trespass gets things off to a powerful and impressive start.

The following Capsized only builds on that compelling invitation, instantly gripping intrigue and a full welcome with its own distinct lure of beats and bass before opening up into a controlled stroll with moments of fever led by Lugo’s again easy to consume vocal presence. With essences of bands such as A Place To Bury Strangers and Slowdive in its instinctively catchy canter, the song is a smooth collision of emotional drama and sonic infection sparking body and appetite before Falling with its mellower gait and sultry climate offers a cosmic caress come intimately involving suffocation, one as funky and seductive as it is emotionally shadowy. As in the first, Forman’s rhythmic rock ‘n’ roll prowess is anthemic and manipulative of body and spirit whilst Lugo’s guitar and bass enterprise conjures similar involvement of emotions and thoughts with its contrasting yet mutually tempting tides of suggestiveness.

The thumping beats of Forman has speakers and body romping within a whisper of a breath as Only Strangers Now steps up next; his controlled but driving exploits alone irresistible bait. The tenacious rhythmic incitement is skilfully wrapped with a Joy Division seeded tone though that too has real liveliness to its solemn wash with vocals just as energetically flirtatious. Taking best track honours on the first listen, the band’s recent single sets up the more emotionally intense All For You perfectly, the following song’s laid back reflection fuelled atmosphere part House Of Love, part My Bloody Valentine but with the underlying sonic causticity found in Jesus And Mary Chain. Hypnotic and ghostly with a great concussive essence in its rhythmic touch, the track is another full immersion of ears and imagination within Standing In The Shadow Of Your Ghost.

So Long brings another accelerated charge and climate with its infectious adventure straight after; its cinematic and heavy atmosphere seeded in second and third album era of The Cure though melodically Ride come to mind while You Feel It Too has more of a synth pop meets noise rock meets fuzzy shoegaze serenade for the listener to explore though as with all songs, what emerges has only the Stellarscope persona all over it. Both songs leave rich pleasure a lingering memory with the first especially prone to lingering in thoughts with its tenacious escapade.

Both Nothing To Me and No Reason Why capture the imagination with ease, the first a fuzzy smog of sound and emotional openness fuelled by Forman’s ever voraciously infectious rhythms  while its successor is a slower and darker enveloping of the senses with its own alluring radiance and plaintive shadows. Though neither quite match up to those before for personal tastes they each only enrich and strengthen the depths and enjoyment of the album with the second arguably offering the release’s most intense and intriguing moment.

Completed by the raw and almost disarming This Is How It Ends with its seductively cloaked and richly enticing stark climate and emotion, Standing In The Shadow Of Your Ghost is one compelling adventure from start to finish which only grows with every listen. There are numerous essences and textures which go onto the band’s adventurous sound but as suggested, all woven into something if not fully unique as close as you would wish.

Standing In The Shadow Of Your Ghost is out now through Patetico Recordings @ https://pateticorecordings.bandcamp.com/album/standing-in-the-shadow-of-your-ghost

https://www.facebook.com/Stellarscope-42638364841/

Pete RingMaster 13/06/2017

Copyright RingMaster: MyFreeCopyright

Big Jesus – Oneiric

Pic cred: Chris Sullivan

Pic cred: Chris Sullivan

Imposingly dreamy, Oneiric is a proposal which simply infests, seduces, and lingers with increasing potency listen by listen. The new album from Atlanta bred outfit Big Jesus, the transfixing Oneiric is a warm serenade of the senses but equally has a predacious side to its shadows and rhythmic weight which hooks eager attention. Mellow and raw, seductive and fiery, the band’s sound sits somewhere between My Bloody Valentine and Deftones, Smashing Pumpkins and Palms but is all the time weaving its own distinct adventures now collected on one gripping album.

According to vocalist/bassist Spencer Ussery, the Big Jesus sound was bred on inspirations found in nineties rock;  everything from metal, psychedelic pop, shoegaze, hip hop, and classical piano music impacting on the ideas and music of the band. It is a mix which lured potent interest in the band with the release of their debut album One, and is set to escalate as the Matt Hyde (Deftones, Slayer, Monster Magnet, Sum 41, Alkaline Trio) produced Oneiric swarms over more and more ears.

Bringing four tracks from their earlier release with six new encounters, Oneiric quickly grabs ears and imagination with opener SP, the song instantly a writhing mix of fuzzy melodies and hungry grouchy riffs. It is imposing yet inviting, especially as the warm tones of Ussery float across the feisty landscape of the song. Guitarists CJ Ridings and Thomas Gonzalez cast a great web of warm and aggressive enterprise too, riffs and grooves a conflicting yet beautifully united adventure which with the ethereal nature of Ussery’s voice offers a House Of Love meets Smashing Pumpkins enticing.

art_RingMasterReviewThe snarling air of Ussery’s bass and the intensively swinging beats of Joe Sweat make a matching powerful lure, their driving energy and dark nature as virulent in the following pair of Always and Lock & Key. The first of the two is a ridiculously catchy affair, it’s relentlessly twisting grooves and rhythms a feistily contagious invitation wrapped in magnificent psychedelia/ shoegaze spiced vocals while its successor musically ventures down the same creative avenue to create its own tempting while caressing the senses with romantic melodies as sonic suggestiveness warms with celestial hues. Again there is heaviness and intensity involved which sublimely tempers the bright air and only increases the potency on ears and imagination.

Through the rapacious directness and melodic meanderings of Floating Past You and the gentle yet intrusive and slightly melancholic croon of Fader, the album transfixes with ease while their successors, the sonically incendiary Shards and the heavy metal hued Oneirica only tighten the pull of one increasingly engaging encounter. The latter is another song which fizzes with infectious vitality and a rhythmic boisterousness which seems to inspire all the other elements making up the outstanding and seriously enjoyable multi-flavoured track.

Shrimp caresses the senses with its melodic and vocal gossamer next; a golden kiss on ears with a fiercer underbelly. it is an irresistible calling on appetite and emotions before Felt In Reverse coaxes the senses with magnetic reverberation into another sonically flaming and vocally seductive fire of sound and imagination. As at times across the album, surface elements of the song seem a touch similar to that of other tracks but with closer focus and each subsequent play, the song reveals its own mesmeric and often wonderfully volatile character of craft and invention.

Concluded by Heaviest Heart and its mix of irritable predatory riffs and airy almost diaphanous melodies and harmonies, Oneiric is pure temptation in your speakers. As suggested, the album simply grows and further entangles the listener with every listen, unveiling plenty to satisfy fans of rock music from psych and melodic rock to shoegaze and grunge.

Oneiric is out now via Mascot Label Group / Mascot Records and available across most online stores and @ http://www.mascotlabelgroup.com/big-jesus/

http://bigjesus.net/   https://www.facebook.com/bigassjesus/   https://twitter.com/bigassjesus

Pete RingMaster 07/10/2016

Copyright RingMaster: MyFreeCopyright

Happy Diving – Electric Soul Unity

HappyDiving_RingMasterReview

Managing to scorch the senses while seducing them into matching submission, the new album from San Francisco born Happy Diving is a swamp of thick fuzz and melodic romancing; neither aspect dominant yet both overwhelming and across twelve sweltering songs, instinctively magnetic.

Formed in 2013, Happy Diving has gone through various member and location changes while breeding a rich reputation for their fiery and sonically blistering live presence. It is a quality and strength of sound now found within Electric Soul Unity, a raw and intrusive proposition which just as potently entices with emotion and evocatively smouldering melodies. The likes of Dinosaur Jr., Drive Like Jehu, and Swervedriver are offered by the press release as an indication to what lies within the album; suggestions easy to endorse though similarly someone like My Bloody Valentine infested by Birdland or Hot Snakes suits too.

It opens up with Bigger World and an incendiary wail of guitar and sonic forcefulness as inviting as it is abrasive. Throbbing bass and repetitious riffs soon join the initial squall of sound; shaping and driving the song in its expanding adventure before the warmer tone of vocals become engaged in the persuasion too. It is a wholly magnetic affair as increasingly infectious as it is bracing and without a moment to contemplate matched by Don’t Be Afraid of Love. Raw sonic trespass and melodic enterprise collude as the track engulfs ears, its rhythmic coaxing equally as catchy and rousing as the band shares all elements with individual clarity while combining every texture masterfully.

art_RingMasterReviewDrifting away, the song makes way for lead song Holy Ground, a raw and emotionally inflamed proposal searing the senses as vocals and hooks tempt the imagination and an already keen appetite for the intrusive Happy Diving sound. With anthemic rhythms whipping up further enjoyment, the song steps aside for the album’s punk fuelled title track and in turn the melodic charm of Head Spell. Both tracks hit the spot, the first with its Nirvana-esque seeded essences and its successor through gentle melodies and warm vocals in a calm reflection though its climate is volatile and erupts to fine effect throughout.

Through the fervid sonic enticing of the Pixies toned Fantasy and the sweltering smog of Shed Light, band and release simply increase their hold on a now greedy appetite, each springing a net of melodic contagion as powerful as the sonic wash around them. Their thrilling invasion is emulated again by the poppier and highly stimulating assault of Lost My Way and indeed the swinging causticity of The Call, It Thunders. There are times across the album where a similarity between songs is apparent, the second of the two an example yet throughout it whips out a hook or twist which gives individual character to its presence.

More open diversity emerges in the latter stages of Electric Soul Unity; the calm reflective beauty of Pain Country and its suggestive melodies an irresistible seduction holding court even when the song ignites while Unknown Feeling is a beguiling vocal and melody shaped serenade to drift away with.

Final track River Will Flow ensures the album leaves on a tempest of sonic agitation and temptation, but of course with its own weave of rich melodic and harmonic enticing. All three songs provide a fine end to an album which grows and impresses more with every outing. They say noise annoys, not in this case.

Electric Soul Unity is released August 26th via Topshelf Records @ http://www.topshelfrecords.com/products/573831-happy-diving-electric-soul-unity and available now @ https://happydiving.bandcamp.com/

https://www.facebook.com/happydivingca/   https://twitter.com/happydiving

Pete RingMaster 25/08/2016

Copyright RingMaster: MyFreeCopyright

Bloody Knives – I Will Cut Your Heart Out For This

BK_RingMasterReview

The tone of its title, I Will Cut Your Heart Out For This, pretty much sets you up for the emotional trespass and sonic attitude of the new album from Texan trio Bloody Knives. It is a dark invasive suggestion echoed throughout the eight tracks’ scarred nihilistic hearts and a sound which crawls over and smothers the senses. Equally, it comes fuelled by melancholy thicker than Victorian London fog which at times is just as oppressive and invasively enveloping as the caustically natured sounds and as compelling as the raw beauty also invading ear and imagination.

Consisting of Preston Maddox (bass, voice, keyboards, samples, programming), Jake McCown (drums, noise, programming, art), and Jack O’Hara Harris (guitars, noise), Bloody Knives creates soundscapes which immerses the imagination in the darkest corners of life and emotion, into the harshest shadows within fiercest betrayals and deeds. Trying to accurately pin down their sound, lyrically and emotionally, is like trying to grab air, music and album simply a dense kaleidoscope of flavours and thought grasping dramas. The trio certainly find the coldest and rawest aspects of styles like dream pop, shoegaze, and psych pop to weave into intoxicating tempests also shaped by essences of post punk and industrially honed ethereal droning. It is a mesmeric and disturbing mix stealing attention instantly within the opener of the Maddox and Ian Rundell (Dead Space, Ghetto Ghouls, Xetas) recorded and Adam Stilson (New Canyons, Airiel, The March Violets) mixed and mastered I Will Cut Your Heart Out For This.

The album opens with Cystic, an instantly blistering nagging on the senses as guitars and keys sizzle venomously around the infectious stroll of the bass and Maddox’s morosely inviting and solemnly mellow vocals. Like a mix of My Bloody Valentine, The Jesus and Mary Chain, and Crispy Ambulance yet, as all tracks, something uniquely Bloody Knives, the song bites, grumbles, and entices with an inescapable virulence before it evolves into the following Blood Turns Cold. There is an even darker, almost desperation hued emotion and air to the second track, its character uncompromising and ravenous as icy melodies and melancholic vocals lace the transfixing drone of the encounter.

art_RingMasterReviewA bolder, antagonistic post punk undercurrent runs through the next up Reflection Lies, the bass leading those magnetic textures within another imagination sparking smog of sonic and melodic dissonance cast by guitar and synth, while Black Hole swings and rumbles with celestial and almost carnivorous washes of sound and emotion, each evolving and expanding in the ears with every passing minute. Both tracks majorly beguile and intimidate in varying ways and each ignites the senses, but the second of the two with its punk growl and techno flirtation within ravenous atmospheric explorations is especially irresistible.

Through the plaintive tone and sonic trespass of Static, where a great catchy Leitmotive like nagging emerges, and the dark, deranged almost funereal waltz of the instrumental —-, ears and thoughts continue to be potently challenged and eagerly involved whilst Poison Halo offers an even fiercer  wall of aural and emotional density. As ever the raw and suffocating hues of sound are expertly tempered by the coldly engaging delivery of Maddox and the often seemingly toxic melodies, the bass again sparking the contagiousness underpinning every song in one way or another.

Finishing with Buried Alive, a captivating assault of sonic and emotional discordance equipped with keenly edged scythes of guitars, psyche invading keys, and that ever successful rousing bass tenacity not forgetting the fiercely persuasive vocals, I Will Cut Your Heart Out For This is a thrilling confrontation and adventure. It takes the listener to new, invasive places in body and emotion yet rewards with spirit arousing challenges. With only the drums having their bite dulled by the swamp of sound around them as a minute niggle, I Will Cut Your Heart Out For This is simply one easy recommendation.

I Will Cut Your Heart Out For This is out now via Saint Marie Records @ https://saintmarierecords.bandcamp.com/album/i-will-cut-your-heart-out-for-this available digitally and on Vinyl limited to 500 (200 Black and 300 Ox blood / Electric Blue)

https://www.facebook.com/thebloodyknives

Pete Ringmaster 16/05/2016

Copyright RingMaster: MyFreeCopyright

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

Mayflower Madame – Observed in a Dream

MayflowerMadame_RingMasterReview

When looking back at the end of the year, we suspect that April will be noted as one of the most fruitful months for stunning albums, with a great many of them striking debuts. To a list running into double figures we can add the outstanding first full-length from Norwegian band Mayflower Madame. The band’s sound is a captivating weave of post punk, shoegaze, and psych rock textures but given its own distinct character by the imagination of the Oslo quartet, and Observed in a Dream a release which commands attention with a presence slightly nostalgic but as fresh as the dew on a spring morning, and as radiant.

Formed in 2011, Mayflower Madame has already drawn potent attention and praise with the Into the Haze EP in 2013 and last year their single Lovesick. Comparisons to bands such as My Bloody Valentine, Bauhaus, Spacemen 3, and The Jesus & Mary Chain have readily been offered, and understandably with the band’s provocative dark and sensuous sound. Live they have earned a strong reputation too, sharing stages with the likes of Crystal Stilts, Night Beats, La Femme, Disappears, Crocodiles, and Moon Duo along the way and making successful appearances at Norway’s largest festivals, Oya and Norwegian Wood. Now released on their own Night Cult Records and Custom Made Music in North America, Observed in a Dream is ready to wake up the biggest and most attentive spotlights upon the band.

As soon as opener Confusion Hill envelops ears it is a success easy to imagine, and then be sure of as each track seduces imagination and appetite. The first song emerges from a haunted atmosphere with already slightly portentous shadows to its air. Its approaching tempest though is quickly turned into a strolling seduction upon arrival, psych and surf rock flavours shining, almost sighing, over the infectious darkly hued prowl of Petter Gudim Marberg’s bass and Ola Jørgen Kyrkjeeide’s crisp beats. The guitars of Rune Øverby and Trond Fagernes swiftly spin a bed of evocative colour and suggestiveness too as the latter’s also quickly impressing vocals lay emotively upon the strands of sound. It is easy to see where those Bauhaus and Jesus & Mary Chain references come from, though the bigger and bolder the song becomes it reminds more of Gene Loves Jezebel, echoes and resonance on voice and melodies a delicious shimmer.

art_RingMasterReviewAn outstanding start is still eclipsed by its successor Lovesick, a song which plays second fiddle to no one. From its beguiling dark rock ‘n’ roll strum, the song canters along with a devilish swing led by another highly flavoursome throaty bassline and catchy riffery matched by flirtatious beats. Think The Birthday Party meets Helldorado and Tones on Tails as a clue to the track’s virulent alchemy; a song with as much fascinating drama as it has addictive infectiousness.  Its exceptional incitement is as good as matched by that of Self-Seer; another track rolling along on an enslaving rhythmic tenacity and ingenuity. It explores a mellower climate of sound yet still has an energy and sonic clang to physically stir the spirit. If looking for another hint, Echo and The Bunnymen would be a suggestion for the otherwise unique rock ‘n’ roll of the mouth-watering proposal.

A sixties instrumental twang adds to the seduction of Upside Down (The Death Loop), guitars a sultry lure with again a surf rock like tone to their imagination whilst within their searing elegance a cinematic drama infests rhythms and hooks. As much as there is variety to the sound within Observed In A Dream, so too the vocals craft similar diversity, here harmonies glowing with a hazy beauty around the matching delivery of Fagernes.

Latest single Weightless rumbles in next, carrying a far heavier tone and intent in its creative espionage and welcome trespass. A Play Dead/ Sisters Of Mercy like breath soaks the song, its heavy shadows and provocative textures as invasive as they are seductive. Personally, it is not the song we would choose to lead into the release of Observed in a Dream with other more irresistible options, yet the song in its brief moment is a thrilling and rousing protagonist only making the appetite for album and sound greedier.

The calmer landscape and presence of Into The Haze (Redux) hugs ears next, the song a gentle but again lively adventure into noir lit pastures with more cinematic lures whilst the album’s title track, which follows, from a similar template casts its own tantalising and riveting psyche embedding web of sound and emotion which at times is like The Shadows in collusion with House Of Love and Flesh For Lulu.

The album closes with the psychedelically atmospheric Forever//The End Of Everything, a track which equally expresses post punk discord and causticity within its pulsating and bewitching theatre of sound and emotion. It is a powerful end to a tremendous first introduction to most of us to Mayflower Madame. They and Observed In A Dream grab attention, grip tighter with every pleasure giving twist and turn, and emerge as a reason why Mayflower Madame is one of the most exciting bands to make their mark on 2016 so far.

Observed In A Dream is out now via Night Cult Records in Europe and Custom Made Music in North America as an Ltd Ed vinyl, CD, and Download. All options available @ http://mayflowermadame.bandcamp.com/

https://www.facebook.com/mayflowermadame   https://www.instagram.com/mayflowermadame/

Pete RingMaster 29/04/2016

Copyright RingMaster: MyFreeCopyright

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