Counting Coins – All That I Need

CC_RingMaster Review

It has been a hectic year so far for UK rockers Counting Coins; live shows and tours across the UK and Europe a source of great attention and praise for the band as well as recent single Don’t Look Down, and it continues with the unveiling of its successor. The second single taken from the Hull based quintet’s forthcoming album, All That I Need bobs along on ska bred riffs and devilish rhythms bound in spicy melodies that incite ears and imagination as potently as the equally effective vocal and lyrical incitement. It is one of those invitations impossible to refuse as it gives body and lust a rousing run out; simply one endearing and energetic romp of premeditated goodness.

artwork_RingMaster Review     Formed in 2009, Counting Coins has grown a seriously anthemic fusion of ska, gypsy punk, swing, and hip-hop over the years. From their first pair of EPs, Take the Ride and Reach for the Sky in 2010 and 2013 respectively, the band has shown a creative tenacity that wakes up the instinct to romp and stomp. Their live presence has only increased their reputation, the sharing of stages with bands such as Random Hand, Sonic Boom 6, The New Town Kings, The Talks, Jaya the Cat, Babar Luck (ex-King Prawn), The King Blues, The JB Conspiracy, and Neville Staple adding to an increasingly acclaimed reputation. A few weeks back Don’t Look Down had bodies of fans and media jumping around physically and in praise, a repeated success well within the creative grasp of All That I Need.

Opening on a lone and instantly enticing guitar, the bass soon adding its exploits, the track is quickly swinging along with a melodic smile and rhythmic temptation. The vocals of Harry Burnby just as swiftly bring another strain of infectious enterprise, his bouncy delivery matching that of strings plucked by Matty Dennison and Rob Green. In full stroll, like The Beat meets Reel Big Fish but with more variety to its hues, All That I Need swaggers with joyful tenacity as flames from trumpeter Will Chalk blaze over the throaty lure of bass and the keen swipes of drummer Sam Burnham.

It is an easy going proposal offered by the song but a virulently captivating one which has feet jumping, vocal chords exercised, and emotions flying with the outstanding encounter. The last Counting Coins single meant that interest of the band’s new album was thick and now with All That I Need doing the tempting, and with a great video in tow, anticipation is full and a touch impatient.

All That I Need is available from November 23rd across a global range of digital platforms including iTunes, Spotify, Amazon Music and Deezer.

https://www.facebook.com/CountingCoins   https://twitter.com/counting_coins

Pete RingMaster 23/11/2015

Copyright RingMaster: MyFreeCopyright

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Counting Coins – Don’t Look Down

CC_RingMaster Review

Here is another band we could kick ourselves for not discovering before now, well we will once we stop bouncing to their glorious new single. They are Counting Coins, a UK band which in one breath you might call ska, in another gypsy punk, in another…well you get the idea, and their new release is Don’t Look Down, a song destined to turn venues, festivals, and the world into a heaving mass of bodies.

cover_RingMaster Review   The Hull hailing Counting Coins formed in 2009 and it seems took little time in exciting crowds locally before drawing broader attention through debut EP Take the Ride in 2010. With its successor, the Reach for the Sky EP three years later even more successful, the band were soon and hungrily since, lighting up venues across the UK and into Europe, sharing stages with the likes of Random Hand, Sonic Boom 6, The New Town Kings, The Talks, Jaya the Cat, Babar Luck (ex-King Prawn), The King Blues, The JB Conspiracy, and Neville Staple along the way. Equally performances at festivals such as Boomtown, Rebellion, Tramlines, Galtres, and Freedom Festival have only drawn acclaim and seen the band’s reputation gain momentum. With new single Don’t Look Down constantly in our ears alongside a retrospective investigation of Counting Coins, it is easy to see and hear why the quintet of vocalist Harry Burnby, guitarist/bassist Matty Dennison, bassist/guitarist Rob Green, drummer Sam Burnham, and trumpeter Will Chalk are so lustfully supported.

As mentioned at the top, the band’s sound is a weave of styles; ska, punk, gypsy, and hip hop aligned and entangling in Don’t Look Down alone. A brief rally of beats introduces the magnetic flames of brass, they enticing choppy riffs, a pulsating bassline, and the resourceful and magnetic lures of Burnby, his voice just as eagerly backed across the band. The ska swagger of the song is pure temptation, feet and hips soon in tandem, vocal chords a swift addition too. Around them though, the song seamlessly slips in flames of reggae, ska gypsy, and more, it all managing to collude to breed a swing like dynamism. With elements of dub and folk, tango and waltz, and at one point we swear steam punk, the track just continues to roll and twist like a melodic acrobat as it takes the listener and passions on a heady and exhausting ride.

Single of the year contenders is a list longer than a queue on Black Friday and now it is one song richer, an incitement which has more or less jumped the line to stand to the fore of 2015 essential treats.

Don’t Look Down is out now as a digital download on All Our Own Records.

https://www.facebook.com/CountingCoins  https://twitter.com/counting_coins

Pete RingMaster 02/10/2015

Copyright RingMaster: MyFreeCopyright

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New Town Kings – Pack Up Bye Bye

newtownkings-packup_RingMaster Review

New Town Kings has more than earned the reputation as one of the UK’s most exciting new reggae propositions, through their irresistible live presence and just as potently last year’s outstanding Pull Up & Rewind EP, which drew as much rich attention upon its reboot earlier this year. Now the Essex based nine-piece are poised to grip national awareness and energy with new single Pack Up Bye Bye, a contagion of Jamaican reggae/ska pop which if there is such a thing as the sound of summer, has it ingrained in every vibrant pore.

Pack Up...cover_RingMaster Review   Formed in 2007, New Town Kings has lit up the UK and European live scene with their inventive and tenacious sound. They have been declared Britain’s greatest traditional Ska band, a claim backed up by shows with the likes of Reel Big Fish, The Slackers, The Skints, Congo Natty, and just recently Neville Staple. Acclaimed festival appearances have also only reinforced and increased the Colchester band’s stature over the years whilst the Pull Up & Rewind EP, as suggested earlier, set out a new statement of creative intent and success for the band. It was a declaration and ascent in sound which is now poised to whip up a new surge of fresh and broader appetites through Pack Up Bye Bye.

From its first rhythmic click the song flirts with ears and imagination, quickly taking them on a warm dance of catchy hooks, warm bubbly keys, and a vocal enticing from Dabs Bonner which just lures closer attention. Swinging with a reggae groove lined with choppy ska clips of guitar, the track just commands involvement from the listener, especially when unveiling its anthem of a chorus. The song is pure addiction from start to finish but that crescendo of virulence is simply irresistible, a sultry temptress offering the richest seduction within the lively simmer fuelling the rocksteady sculpted alchemy.

With a summer ahead of exciting festival and show endeavours, Pack Up Bye Bye with its open look at the angst of relationships, is the strongest, most vocal reason why New Town Kings should be on the agenda for all event goers and your new daily soundtrack.

Pack Up Bye Bye is available now as a free download @ https://soundcloud.com/newtownkings/pack-up-bye-bye-1

Upcoming New Town Kings live dates…

August 1st – Brightlingsea Music Fest (UK)

August 6-9th – Rebellion, Blackpool (UK)

August 13-16th – Boomtown, Winchester (UK)

September 11th – Colchester Arts Centre (UK)

September 12th – Norwich Arts Centre (UK)

September 17th – Cluney2, Newcastle (UK)

September 19th – Borderline, London (UK)

September 22th – Lille (F) – Venue tbc

September 23rd – Berlin (GER) – SO36 (w/ THE SLACKERS)

September 24th Hamburg (GER) – Hafenklang (w/ THE SLACKERS)

September 25th Cologne (GER) – Underground (w/ THE SLACKERS)

October 30th – Skalloween, New Cross Inn, London (UK)

October 31st – Aalst, (Belgium)

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

RingMaster 24/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

The Talks – Commoners, Peers, Drunks and Thieves

The Talks 2014 photo SJM 2 landscape

You may have already found your feel good encounter of 2014 but it is never a bad thing to keep looking right up to the closing days, especially when as winter opens its eyes you get a treat as irresistible as Commoners, Peers, Drunks and Thieves, the new album from UK ska rockers The Talks. Bringing eleven tracks to infest feet, the body, and the imagination, the release is a stomp of addictive revelry which cannot fail to put a smile on the face and emotions.

Since the release of their debut single Picture This in 2008, The Talks have been on a steady climb with the past couple of years seeing a fevered acceleration of attention for their fusion of ska, punk, reggae, and two-tone. First album Live Now Pay Later! in 2012 awoke a fresh spotlight on the Hull quartet which last year’s Westsinister E.P and singles Can Stand The Rain, which featured Neville Staple from The Specials, and Friday Night swiftly pushed to new levels. Alongside the releases, the band’s live presence has been just as dynamic in garnering acclaim and luring the passions, the foursome of Patrick Pretorius (vocals/guitars/sax), Jody Moore (vocals/guitars/keys), Iain Allen (bass), and Richard Lovelock (drums) sharing stages with the likes of Madness, The Specials, Rancid, The Beat, and The King Blues, as well as playing festivals such as This Is Ska, Mighty Sounds, and Rebellion over time. The previous EP was a highly anticipated encounter with Commoners, Peers, Drunks and Thieves finding itself more eagerly awaited, and again the band has surpassed hopes and expectation with their contagious exploits.

The band’s sound lies somewhere between the provocative roars of The Vox Dolomites, the punk causticity of The Members, the melodic reggae and ska charms of By The Rivers and The Beat respectively, and the virulent devilment of The Jellycats. It is a proposition though which whilst embracing familiar essences develops its own unique devilry as swiftly shown with album opener Don’t Look Behind You. The initial warm embrace of keys has ears and thoughts engaged immediately, especially as riffs chop and rhythms start leaping as keys open up a new inventive flirtation whilst the pulses and strokes of the song work on the passions. Loaded with bait feet cannot resist, the song spreads its seduction further with the mischief of vocals and bass alongside the jagged majesty of guitar stabs, hooks, and beats.

The brilliant start is emulated instantly by recent single Radio, an insatiable two tone fuelled escapade with the delicious whiff of The Selector to it. Within moments its chorus is leading the Picture 156anthemic stroll, the song’s swagger as virulent as the brass flames and exotic keys colouring it. There is a punkish air to the vocals which again reminds of The Members whilst the punchy rhythms consume the vivacious dance of the encounter like an epidemic. The track is aural addiction, a breath-taking protagonist of body and emotions leaving a tall order for the following Tear Us Apart to match up to. With sultry keys and warm harmonies its first breath, the song is soon stirring up ears and imagination with its reggae bred enterprise and melodic summer. It mesmerises with its caressing canter of sound, reminding of fellow Brits Shanty as it floats and immerses the senses in its mouth-watering adventure.

Both Fire and Ceasefire keep the thrills ablaze, the first a muscular slab of ska provocation with bulky bass lines and feisty riffs pouncing on ears with antagonistic intensity and infectious rigour. The track has its nostrils flaring from the first second but the increasingly impressive vocal melodies and dramatic brass hues tempers the roar for another riveting big boned incitement; think King Prawn meets Lazy Habits and you are somewhere near the potency of the song. Its successor which features Jonny ‘Itch’ Fox of The Kings Blues, is an immediate blur of sonic drama and rhythmic provocation, a great dirty baseline aligned to agitated beats the frame for combative vocals and smouldering melodies. Teasing with dub enterprise over a ska crafted canvas, the track bounces with confrontation and climatic resourcefulness, every twist a striking reward for ears and a spark for thoughts to match the lyrical impact.

The gentle warmth and catchy romance of Light Up replaces the previous exhilarating tension of its predecessor, the swaying proposition a melody rich call with keys and harmonies embracing another irrepressible earthy bass temptation. Its masterful charm and joy is followed by the pop punk infused All in a Day, the band regaling the album with yet another thrilling slice of diverse and creative magnetism. A mix of Less Than Jake and Reel Big Fish but unique again, the song bounds along with a recognisable air around a creative humidity which fires up into an irresistible persuasion, especially once the outstanding escape of deranged keys occurs.

It is a track, as all to be fair, which feet and voice of the listener are unlikely to resist, a lure across the album which is no more inescapable as in the brilliant Hacks. New wave soaked pop punk meets the spicy flirtation of Bad Manners, the track is an ingenious enslavement of ears and passions based on a ridiculously captivating rhythmic enticing and spicy guitar tempting, all matched in expression and allurement by the punchy vocals. The song tells you all you need to know about The Talks, their inflamed imagination and diverse sound, it all encapsulated in two minutes of instinctively seductive alchemy.

The equally thrilling Tune In steps up next to seize the passions, its opening jangle of chords the lead into a melodic coaxing straight out of the Martha and The Muffins songbook ,which in turn shares its space with swipes of feisty rock and ska sculpted endeavour. As punk as it is ska and adrenaline fuelled rock pop, the song stalks ears with a predacious ingenuity before making way for the smoky presence of Sam, reggae and indie rock embracing in a humid embrace, which in turn leaves for final track Alright with Me to close things up. The last song has blues flair to its keys and a choppy texture to the guitar enterprise shaping the expressive musical narrative, a transfixing croon to bring the album to a fine end and show yet more of the variety and creative depths of The Talks.

It is impossible to listen to Commoners, Peers, Drunks and Thieves just once in one sitting, and certain tracks many more times on top. As stated at the start it is a feel good album but more than that, it is a release from a band to which invention and uncompromising adventure is as instinctive as the rapturous infectious sounds they seem to have stockpiled up inside them.

Commoners, Peers, Drunks and Thieves is available now via All Our Own Records now @ http://www.thetalks.co.uk/store/4575625721

http://www.thetalks.co.uk

RingMaster 25/11/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Shanty – Leave Me Out EP

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Alongside attention grabbing live performances, seven piece party-reggae collective Shanty stirred up plenty of attention earlier in the year with their first single Blackout. Now the UK band release their highly anticipated debut EP Leave Me Out, a four track creative stomp fusing classic roots reggae with soul, hip hop, and many more enticing flavours.

Hailing from northwest London, Shanty has through their tantalising and inventive sound found themselves appearing at the likes of Glastonbury, Boomtown Fair, Secret Garden Party, and Leopallooza, with equal success and acclaim coming through the sharing of stages with the likes of The Skints, Prince Fatty, and Neville Staple of The Specials. Blackout kicked open a wider awareness of the band with its eagerly received release but it is through the fascinating Leave Me Out that you feel Shanty is poised to leap into the strongest spotlight.

The EPs title track sets things off , its opening blaze of heat from trombonist Ross Moore and trumpeter Kenneth Brown a coaxing wind to which the choppy temptation of Sam Raywood’s guitar, aided by the dark tones of Jake Butler’s bass, clip_image001provides a more intimate enticing. Soon settled into a relaxed and magnetic stroll, the bass becomes more creatively vocal as the keys of Mindaugas Juozapavicius flirt with the imagination and beats of Luke Bunce keep the pace even and controlled. The song fully comes alive with the final thread of its seductive weave, the fine vocals of Ben Willis. Quietly but inescapably infectious, the track is unafraid to leave its core reggae bred canter to explore electronic corners and intriguing sonic exploration before returning with renewed energy and enterprise into its masterful embrace. With the vocals of Willis especially tantalising in the superb gentle swagger of the track, it is a riveting start to the release.

     Bohemian Soul steps in next to continue the EPs strong persuasion. With a resourceful swing to its canter and flickers of dub temptation which reminds of Ruts DC, it is a warm and contagious seduction. Keys and brass swiftly immerse ears into the heat of the song’s sultry climate whilst vocals and rhythms work on the imagination and feet respectively, everything resulting in a thoroughly engaging and intrigue adventure matched straight away by the excellent Rise Up. Casting an anthemic lilt to its swirling enterprise and melodic temptation, the track spins a soulful tapestry of genre fusing sounds with a rich smouldering climate of reggae expression veined by a gloriously pulsating dub crafted resonance.

The EP is brought to a close by the shadow kissed creative spell of One More, the song a cinematic noir hued romance for the senses which simply radiates flirtatious melodies and seductive brass flames across a canvas of delicious dark bass suggestiveness and shimmering keys. It is a spellbinding encounter enriched by the excellent expressive vocals of Willis and the understated yet potent teasing of guitar from Raywood, not forgetting the jabbing weight of Bunce.

Leave Me Out is a tremendous proposition from a band which can only get stronger and more innovative going by the craft and potential locked inside the EP. Shanty is going to be big, mark our words.

The Leave Me Out EP is available now on CD @ http://tinyurl.com/kxerkn2 and digitally at most major stores.

http://www.shantyband.org

RingMaster 22/09/2014

Copyright RingMaster: MyFreeCopyright


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The Talks – Radio

the talks pic

It is never hard to get feet and passions up for a healthy infectious dose of ska punk and it does not come in any finer form of potency than Radio the new single from UK quartet The Talks. An irresistible toe tapping escapade with the vitality of The Selector, the addictive prowess of The Mighty Mighty Bosstones, and the irrepressible invention of The Specials, the single ignites the imagination and passions with sublime efficiency whilst breeding a boisterous hunger for not only itself but the band’s highly anticipated forthcoming album Commoners, Piers, Drunks and Thieves. One song does not make an album but if the rest of the exploits are half as enslaving and potent as Radio than a heady ride is coming our way.

Since forming Hull’s The Talks has built and earned a strong reputation for sound and presence across not only the UK but Europe. Their sharing of stages with the likes of The Specials, Rancid, Madness, The Beat, King Blues, and The Toasters has only put the quartet of Jody Moore, Pat Pretorius, Iain Allen, and Richard “Titch” Lovelock into increasingly intensive spotlights. It has been a recognition reinforced and enhanced by their releases; the 2012 single Can Stand The Rain which featured the legendary Neville Staple easily marking the cards of a great many whilst last year’s West Sinister EP took things to greater levels of attention and support. The band’s last single Don’t look behind you pushed it all on again, its success leading to slots at festivals such as Boomtown and Camden Rocks at home and the Sapi Festival in France and the Fusion Festival in Germany.

The new album is the source of the next great hunger sure to be inspired by the band, greed set to be intensified with the rampant appearance of Radio. The single instantly casts a rhythmic coaxing and melodic bait to be pounced upon with feverish energy, an entrance swiftly exploding into a magnetic canter of irrepressible enticement through keys and guitar stabs under the great anthemic singular and group lure of vocals. As all good ska fuelled emprises, the track holds a riveting swagger which is as anthemic to feet and passions as the punchy rhythms framing the whole dance. Complete with flames of brass and constantly seducing keys, the track is an epidemic stride of sound and melodic magnetism with just that edge of punk belligerence.

Radio is a song for steamy climates and floor quaking dancehalls, a celebration to indulge in time and time again alone or in a crowd as we wait the next rigorously intriguing and sure to be majestic exploit from The Talks.

Radio is available on All Our Own Records now digitally and on LTD Edition 7″ Vinyl.

http://www.thetalks.co.uk/

9/10

RingMaster 30/06/2014

Copyright RingMaster: MyFreeCopyright

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By The Rivers: Take Control

   By The rivers

    Take Control is the new single form the highly rated UK sextet By The Rivers, a band which has already earned eager praise and a loyal following around their home town of Leicester and further afield. The single is a warm and vibrant blend of reggae and ska tinged enterprise which teases and caresses the senses into a warm and satisfied bliss.

Formed in 2010 by friends Nile Barrow (vocals/guitar) and Jordan Birtles(drums/vocals), By The Rivers has certainly been on a steady and rapid rise. Taking their passion for the sound, culture, and style of reggae and its roots, the pair soon recruited Will Todd (saxophone), Leo May (trumpet), Matt Willars (bass), and Sam Read (keyboard/guitar/backing vocals) to the mix. The first year saw the band venture into the live arena to rapturous responses and within their first seven gigs had lined up to support Dawn Kinnard, Neville Staples, Toploader, and Fun Lovin Criminals. The band was in strong demand with venues and promoters with the following year seeing the band support the likes of The Buzzcocks, Maxi Priest, Musical Youth, Dawn Penn, Saxon Sound, Neville Staple, and John Holt & The Specials. Their second EP repeated the success of their first with fans as did their debut single One Word, both earlier EPs receiving a full release as a single package in 2011, the release reaching second spot in the iTunes Reggae Album Charts, behind Bob Marley.

Released on Kompyla Records, second single Take Control shows with ease why the band is hailed as something special. Opening 1778070903-1with pulsating bass strokes and gentle yet fiery brass calls the song is an immediate temptation, its heated elegance and sinewy heart an instant magnet for the ear. A musical infection sets in even before the vocals have a place in the scheme of things with the fine tones of Barrow and Birtles elevating the existing satisfaction to greater depths. Limbs are recruited before the willing passions, both without defence to the magnetic melodic wash and inciting passion of the song musically and lyrically. It is a gentle yet formidable coaxing, a persuasive ‘call to arms’ which engages on every level, voice and thoughts willing recruits to the heart and breath of the song. Our knowledge of reggae and its history is sketchy at best but the same emotion and pleasure spawned from the best moments of UB40 and the current enterprise and emotion of Onlyjoe is prevalent throughout the song.

The track is accompanied by a remix by Radio Riddler (Fast & Frank Benibi of Fun Lovin Criminals)of the single and the excellent acoustic version of the song Don’t Stand Alone. The remix is a more than decent engagement which lights different shadows and flames from within the original song whilst the last song is a deeply impressive and pleasing wash of acoustic guitar, melodica, and the again delicious vocals and harmonies of the band founders. A fresh and uncomplicated breeze of emotive energy and mesmeric craft, the track would have made an irresistible single all on its own, the living melodic and harmonic contagion quite delicious.

By The Rivers is on the verge of big things and Take Control the compelling persuasion that it will be sooner rather than later. Just starting a tour of England, this is a band which brings something invigorating musically and emotionally to UK reggae and melodic enterprise.

https://www.facebook.com/bytherivers

RingMaster 22/01/2013

Copyright RingMaster: MyFreeCopyright