Dirt, spices, and rock ‘n’ roll: getting a taste of The Sourheads

If you ever have thoughts that real rock ‘n roll is on the wane a quick listen to the new album from British rockers The Sourheads will soon make you think again. Care Plan For The Soul is a nine-track debut full-length, a skilfully and passionately woven roar of classic and fresh rock diversity which snarls as it seduces, thrills as it trespasses ears and imagination. Through our friend Garry at SaN, we had the chance to dig deeper into The Sourheads with guitarist MIK CRONE, exploring the band’s origins, digging into the heart of Care Plan For The Soul, The Sourheads live and more….

Hi Mik and big thanks for taking time to chat with us.

Can you, for those yet to be invaded by your rock ‘n’ roll, first introduce the band?

We are The Sourheads and we come from Wakefield West Yorkshire. We are a rock band who take influence from the greats and add our own twist. We like to think of ourselves of somewhat multi-genre and we don’t want to be seen as just one specific style of music. A career band like The Stones or The Who dip into different things but still stay true to who they are…So yea we are a rock band who give it our all live.

The band is said to have emerged in 2016 but does its seeds go further back?

The version of The Sourheads now is the result of many years building. Like Oasis the original version was Jake [Coxon]our singer and his brother Sid who played guitar. They had a string of musicians throughout a short period of time. I first came into the picture as a producer for the band. I had been working with various bands and the early version of the band struck me as a very different but awesome set of musicians. I felt with direction the band could be massive.  Around this time I was asked to join as a second guitarist and a month later Sid left. So at this point we upped our game and decided to focus on a solid tight band and work on the debut album. The Sourheads you see now emerged in 2016.

Is The Sourheads your first ventures in a band or do you all bring various previous experiences and explored styles of music to the mix?

Everyone in The Sourheads has been in other bands before. I had a small amount of success with a metal band I was in. Lamb [Chris Lambert] our drummer was in a relatively successful Indi band. Ben [Taylor] has played bass forever and grew up jamming with his brother Simon (Inme) and Jake has always been a creative person singing and painting. The combination of these different influences creates the originality of our band. We are what we are.

You have just released your debut album, Care Plan For The Soul. From its first breath it shares a multi-flavoured, refreshingly dirty and just a little salacious roar of sound and intent; a mix which suggests a varied range of inspirations to the band and individual members. Who particularly stands out as having an impact on your approach to making music?

We take our inspiration from different places. Jake is a massive Doors fan, Lamb is into his classic British Indi music; Ben is also a fan of different styles of music. I look up to any band that has strong songs. Stone Temple Pilots are a massive influence for me. Deftones, Queens of the Stone Age, The Cult, Shed Seven, Oasis, Clutch. We use many colours to create our art.

How would you describe your sound to newcomers?

Iggy and the Stooges mixed with the Sex Pistols thrown into a blender with The Stereophonics and Nirvana.

Classic Rock with an edge.

It feels like it just follows its nose always prepared to embrace fresh and unpredictable flavours. Is this something you deliberately set out to purposefully develop or a sound and direction which just grew and evolved organically?

We are what we are. People either get it or don’t. One review says we are original and have rewritten the rule book of what a rock band should be. The other will say they don’t get us. Why do we look like we do and why does the artwork not match the music. Well the answer is we are totally focussed and we are 100% us. Everything is totally focused and this is what we do, our sound and direction develop naturally. Luckily our label saw this and our friends like Red Spektor saw this. So it’s better to have a loyal friendship and business partnership and have loyal listeners than to be fake and try to jump on a scene.

How long was Care Plan For The Soul in the making?

We had a lot of time rehearsing and making sure we could play the songs. We could play without vocals, with vocals, without bass or without guitar and obviously all of us together…Probably 3 months of pre-production and a week to record.

It has an instinctive snarl to its air and open rawness to its energy; at times feeling like it may have been recorded live. How did you approach its creation in the studio?

We decided early on that the band has a live energy that needed to be captured so we decided to record live and then delete the guide vocal and do a main vocal later. I also overdubbed a second guitar rhythm track to fatten the overall mix. We also added congas and cello in the overdub stage.

Can you give us an insight into the trials and pleasing surprises you found when recording the album?

We worked with a wonderful producer called Matt Knee and we used an old 70’s BBC mixing desk, this gave us a warmth that we were pleasantly surprised by. We wanted initially to record full analogue but as we wanted to play live we decided it’s may be better to do it digitally but through old analogue gear. This was due to the fact that digital is instant and we knew we had to keep in budget for our business plan to be effective. We needed to make sure everyone was comfortable and the atmosphere was good. We had incense burning and lava lamps. Pretty laid back.

It was subsequently mastered by Pete Maher (The Rolling Stones, Depeche Mode, U2) and released through German Label Kozmik Artifactz. How did those link ups come about?

Pete Maher has worked with everyone and we liked the fact that he worked within multiple genres. Katy Perry, Pink Floyd, Linkin Park are a few of his varied clientele and he had just finished mastering the LA LA Land soundtrack. We knew that attracting a big name would gain us attention and Pete does great deals for up and coming bands. It seemed like a great idea and he did an amazing job. Around this time we became close friends with Red Spektor and their manager Simon. They were saying good things about us in interviews and we were starting to get noticed. I sent a private link of the album to a number of labels and pretty much instantly Kai at Kozmik Artifactz messaged back saying ‘We don’t usually release this style but we think you would fit our sister label Oak Island perfectly so we did the deal and we are honoured to be part of the Kozmik Artifactz Oak Island family. The label is having great success with bands like Church of the Cozmic Skull and of course our brothers Red Spektor.

Can you give us the inspiration for the album title and some of the themes within its body?

We felt that the title had to reflect the song content. Our drummer Lamb came up with it. The songs are pretty intense in parts and cover lots of topics such as Demonic Possession, Marriage Breakdowns, War veterans, soul stealing creatures. When you take this into consideration and then see the album cover is a lone figure stood in the middle of the beach with his dog it’s kind of like that is the care plan for his soul. He is escaping the turmoil.

Is there a particular songwriting process within the band?

Pretty much straight forward…Ben or me write a riff or two. Lamb plays a beat. We arrange the song, record it on a phone then Jake writes the lyrics.

Apart from obvious pride and satisfaction in Care Plan For The Soul is there a particular moment within it which gives you a specific personal flush of inner pleasure?

The whole thing is a major flush of inner pleasure. We set out with a goal and we achieved it on budget and we didn’t move away from our art and vision one bit. This is amazing to us. To have a vinyl copy of the album in my hands and look at the finished product gives me goosebumps. The fact that the digital streaming numbers are good too also feels good. We want to get out to as many people as possible. From the actual recording there are a few moments I like. I think some of the vocal delivery is the best Jake has ever been.  The rush created when he shouts I am the Lotus! That’s a fan favourite moment.

Give us an insight into the live side of the band?

We are told we are extremely good live. Jake is a bare chested beast of a frontman, live truly something that has to be seen and heard. We are very tight and play as close to the album as we can get. I like the idea that we are four individual characters and that as a member of the audience you can get what you are looking for from us. We put a lot into it. I’m swinging my arm in the air and running around; Jake is in the crowd or rolling around on the floor. Ben is grooving away and lam is bashing the living daylights out of the kit.  We are an old fashioned rock band. We put on a show.

Obviously the album is in its early days inviting attention but what is next on the horizon of The Sourheads?

We are hoping to tour throughout 2018 and play some festivals. Do a couple of music videos and keep writing. We have 3 songs written for the next album already. We have also experimented with slightly different sounds. Some old school style Stones vibe.

Again many thanks for sharing your time; any last words you would like to add?

Thank you for showing interest in the band. We truly appreciate every website, magazine radio station that helps us spread our message and music. We are fans of music and do this because we love playing and creating our art. People like you keep the musical torch burning bright. There is a buzz and new found enthusiasm for rock music and we want to embrace this whole heartedly.

Check out The Sourheads further @ https://www.thesourheads.com/    https://www.facebook.com/thesourheads    https://thesourheads2.bandcamp.com/

Pete RingMaster 13/12/2017

The RingMaster Review

Copyright RingMaster: MyFreeCopyright

The Starling Radicals – Promisedland Vol 1

It is probably fair to say that last year was a disruptive one in the emergence of Welsh band The Starling Radicals, the band having to deal with “several sequential departures of recently-joined members” though it did give their fans the well-received Wasteland EP. They have come through that turbulence though with a new stable line-up and now a new encounter in the shape of Promisedland Vol 1 which as good as demands keen attention.

Formed in 2012, The Starling Radicals has built a strong and loyal following with their alternative rock bred sound nurtured with the inspiration of bands such as Nirvana, Stereophonics, and the Manic Street Preachers. Two years after stepping forward, the band released debut album Saintland, the potent first step in their rise within the UK rock scene. Promisedland Vol 1 is another leap forward and with its quartet of hook rich and rousing slices of tenacious rock ‘n’ roll, quite easy to see pushing the band and reputation a few more rungs up the ladder.

With George Toulouse offering instinctively bold vocals and guitar, Gareth Bain the dark hues of magnetic bass, and Joe Steele the lively swings of his beats, The Starling Radicals quickly get down to business with EP opener I’m With Her. Straight away an enticing wiry hook escapes the strings of Toulouse, rapacious rhythms quickly adding to the almost carnival-esque initial prowl of the song carrying just a hint of The Shanklin Freak Show to it. It is a compelling and thrilling start which maybe loses its edge a touch as warm melodies and Toulouse’s instantly striking vocals step forward. Their presence though brings a new wave of Police meets Manic Street Preachers infectiousness which in turn entangles with that earlier temptation, the song revelling in its variety and creative dexterity as it firmly grabs ears and imagination.

The band quickly show that opening a song in fine style was no flash in the pan in the first as the following You Make A Mess Of Me uncages its own delicious hook built groove to get things underway; the guitar again the instigator soon aided by controlled but bold rhythms and Toulouse’s rich tones. Its swing never allows a moments rest even when the song simmers though it is always ready to bubble over again within its melodic rock ‘n’ roll. As with the first track there is something familiar at play but an essence only adding to the enjoyment of its infectious and enterprising proposal.

The Scottish Play has a dirtier air and snarl in its blues scented rock ‘n’ roll as well as a more classic rock scenting though ultimately it is their fellow Welsh men in the Manics which comes to mind as the track hits the spot just as potently as its predecessors.

The release ends with Heart This City, a song which did not make the same kind of impact as those before it at first but it is fair to say with Toulouse vocally as alluring as ever and rhythms an anthemic undercurrent, it grew in persuasion and temptation listen by listen. It makes a fine finale to a release which maybe is not as unique as it might be but pushes the sound, reputation, and stature of The Starling Radicals to new heights and indeed the pleasure of their company.

Promisedland Vol 1 is out now.

http://www.thestarlingradicals.com/    http://www.facebook.com/TheStarlingRadicals/    https://twitter.com/thestarlingrads    https://www.instagram.com/officialstarling/

Pete RingMaster 29/11/2017

Copyright RingMaster: MyFreeCopyright

Indigo Sixteen – Bring on the Rain

Not having previously come across their previous trio of singles, their new track Bring on the Rain is our long overdue introduction to Indigo Sixteen. It is a compelling jangle of indie/punk devilry from a band looking ready to step into the long line of unique and compelling Scottish propositions of decades past.

Creating a sound which by design or chance embraces the essences of classic bands like Scars and Josef K as well as British outfits like The Libertines and Skellums, Edinburgh hailing Indigo Sixteen emerged in 2013. Leaning on inspirations ranging from Kasabian, The Smiths, and Joy Division to The Jam, Daft Punk, Kraftwerk, and Nirvana, Indigo Sixteen previously released the singles Decide (2014), And What? (2014/15), and Come and Go (2016). Now it is Bring on the Rain ready to stir greater attention the way of the quartet and as it plays in the ears it is hard to imagine it not rousing up a host of new fans.

The vocals of guitarist Stephen Mallin pull the song into view, the equally alluring creative clamour of fellow guitarist Matt McPherson adding its melodic jangle to his and the rhythmic shuffle of drummer Callum Davidson and bassist Andrew Stears. Carrying an energetic and virulent swing to its gait and spirited tenacity to its character and enterprise, the song reveals its punk and indie sides with zeal, merging them into a proposition maybe not yet truly distinct but as gripping and exciting as you could wish for.

Those earlier suggested flavours swiftly come to mind in the song to add to its appeal and a quickly bred anticipation for the next band’s next steps.

Bring on the Rain is out now.

https://www.facebook.com/IndigoSixteen/    https://twitter.com/IndigoSixteen   https://www.instagram.com/indigo_sixteen/

Pete RingMaster 21/11/2017

Copyright RingMaster: MyFreeCopyright

Webs of goodness: talking music and more with Verity White

The first week of November sees the release of Breaking Out, the new album from British rock singer/songwriter Verity White. An award winning artist continuing to rise up the UK rock scene Verity is no stranger to courting eager attention, with her album an ear grabbing realising of earlier potential and the source of a new breed of promise to expect her prompting bigger spotlights. To celebrate the album’s release we thrust a host of questions to explore the world of Verity White…

Hello and welcome, please introduce Verity White.

Well the ‘band’ is me, but I work with my hubby as the producer and instrumentalist, as I’m more of a mentalist than any good with any instruments. We actually got together long before we started writing together, my musical releases only started in Autumn 2016 when I felt I was ready – I had to go through a lot of stuff to get to a place with my confidence to release anything.

Have you been or are involved in other bands before? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

Yup, I’m still a backing vocalist in the prog-rock band Pendragon, I’m not sure that its really influenced what we’re doing, although obviously it is also rock based so maybe it has? You tell me! The other bands have just been covers bands on the local circuit so not a lot of influence there.

Was there any specific idea behind forming your own project and also in what you wanted it and your sound to offer?

There was actually. After I came back from my first tour as a backing vocalist in Pendragon a lot of their fans got in touch to ask if I was releasing music. I had been thinking for a while that maybe I ought to start and that was what I needed to actually do it. It was natural that I would work with the best producer I know, who I also happen to be married to. I always wanted it to be rock focused, but there is a lot of influence of electronica in there too, loads of synths! Also some folk roots and definitely classic soul. It’s like a mash-up of my best music playlists!

Do the same things still drive the band or have they evolved over time?

I’m definitely still driven by the same things. The same music inspires me but I’m always finding new music to do that too. I don’t think I will ever lose my drive, I’ve actually got a song on the new album about the pressure I put on myself to succeed.

How would you say your sound has evolved since starting?

It’s more the writing than the sound; I understand more what does and doesn’t work, and how to use my voice and melodies as an instrument that blends better with the rest of the music. You see, the last year has been prolific, we’re written so much so you cannot help but get better at it.

Has it been more of an organic movement of sound or more you deliberately wanting to try new things?

Definitely organic, if it feels right, it happens.

You touched on it earlier, that there is a wide range of inspirations at work for you; are there any in particular which have impacted not only on the music but your personal approach and ideas to creating music?

Definitely Nine Inch Nails, they’re a massive inspiration, but also a lot of 90’s grunge and rock bands, like Nirvana, obviously, and Veruca Salt, and other strong female artists with great music like Amanda Palmer and Tori Amos.

Is there a particular process to your songwriting?

Yeah, usually Al and I get a rough chord structure sorted which Al then adds drums and bass to, I get this track and write the various melody lines and lyrics, then I record and we add incidentals and then I leave him to mix and master it all!

Where do you, more often than not, draw the inspirations to the lyrical side of your songs?

It’s boring but it is all personal experiences. I alluded before to my ‘dark past’ and it’s no lie, there’s a lot of material there!!

Could you give us some background to your latest release?

I Don’t Care is actually homage to my time at uni when I got drunk all the time and slept around to try to forget about how unhappy I was. It’s actually a pretty dark message for such an upbeat punk-y style rock song! The whole album Breaking Out, when it comes out, is actually a movement into my personal self-believe and breaking free from what I’ve been holding myself back with. It’s been a real journey writing it and I think a lot of people will find some of the messages and stories within it have something they will recognise in themselves. Hopefully they’ll like the music too!

Do you go into the studio with songs pretty much in their final state or prefer to develop as you record?

I go in with clear ideas but then we also do a lot of improvised takes and sometimes they are wonderful. I think you need to have a clear idea of what you’re trying to achieve before you go to the studio, and a clear idea of the performance and energy you want to give, as you get what you put in. If you’re underprepared and under rehearsed it’ll never sounds as good whatever you do.

Tell us about the live side to the project, presumably one of your favourite aspects to making music?

LOVE IT! I love being on stage – it’s my favourite place. Maybe except bed, but you know.   Our live shows are just that – a show – it’s not just a name on stage, but we like to get a real connection with the audience and hope that the energy and enthusiasm we have on stage is addictive!

It is not easy for any new artist or band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?

It’s a lot of hard work, and it is down to you. I’ve found social media, mainly twitter, has been incredible for building a fan base, just through genuine interaction. Personally I’ve found that just by being me and my working my arse off every day, I have managed to get people interested. However – the weird thing is – they’re mainly not from anywhere near where I live. Isn’t that typical! Good job we’re touring in January!

How has the internet and social media impacted on your presence to date?

The internet has revolutionized the way you can interact with fans; it’s makes it easier than ever to connect directly with your audience. My last year has been heavy working on increasing interest in the music through social media alone. I’ve only plays a couple of gigs! Personally, I think this way, when you do tour, you’ll have people who are interested enough to actually come to see you! I hope that I can always keep connected with the people who love my music. I would hate to lose that, they make me so happy and are such wonderful people!

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Massive thanks to you too!! I guess just keep an eye out for the new releases – Breaking Out is going to be awesome and it’s out first week of November!

Check out Verity White further @ https://www.facebook.com/veritywhitesinger    https://www.veritywhite.com/    https://twitter.com/veebear   and explore/buy Breaking Out now @ https://veritywhite.bandcamp.com/album/breaking-out

Pete RingMaster 03/11/2017

Copyright RingMaster: MyFreeCopyright

Escobar – The Biggest Sound

Whether you wish to call the Escobar sound grunge, punk, garage rock or something else, all flavours involved in its riotous tapestry, there is no escaping that it is one glorious rock ‘n’ roll cacophony. The irrefutable proof is to be found in the French duo’s new album The Biggest Sound, a nostril flared stomp more than living up to its container’s moniker.

Hailing from Limoges, Escobar was formed in 2014 by vocalist/guitarist Remi Lucas (Weird Omen, The Anomalys) and drummer Charly “Kayo” Cailleaud (The Bushmen, Daria). With the release of debut album エスコバルin 2015 and its successor Bird Of Prey the following year, the band was met with widespread acclaim which is sure to escalate through the rousing antics of The Biggest Sound. Such its addictive melodic hook laden clamour, it is easy to expect the album to thrust Escobar into the biggest spotlights as eureka moments go off in new ears to spark a fresh tsunami of lusty attention.

It is impossible to truly pin down the Escobar sound though a fusion of The White Stripes, Nirvana, and In The Whale gives a good starting point. As opener Terrible Man alone shows, the pair create a sound distinct and unique to itself and a temptation which swiftly and greedily infests body and imagination. The first song launches at the listener with urgent riffs, their infectious coaxing the prelude to a surge of flirtatious guitar clang and rhythmic incitement. It all settles into a vivacious garage rock stroll with a Latin-esque temperament as Lucas’ magnetic voice and guitar bounce upon the rhythmic web spun by Cailleaud. As virulent for the senses as it is increasingly concussive, the track simply seduces ears and appetite whilst getting the album off to a stunning start.

That success only builds as the insatiable punk ‘n’ roll of Misbehavior devours ears, again the two protagonists creating a noise clad contagion which sparks body and spirit. As with those around it, the song makes physical involvement a given in its swift but unquenchably boisterous escapade; a perpetual trait across The Biggest Sound in evidence again within Stuck On You. Carrying a power pop infection to its earthy rock ‘n’ roll, the track maybe leaps around with less intensity than its predecessor but with equal adventure as grunge instincts fuel the guitar. It is easy to hear Nirvana bred inspirations at play within the song but equally there are moments which seem nurtured by a fondness of bands such as Rocket From The Crypt and The Vaccines as it lays down another peak in the increasingly mountainous landscape of the album.

There is no time to relax as the outstanding Paradise rampages through ears with its Powersolo meets The Dirtbombs scented bedlam and Salvation teases and tempts with its raw and boisterous rock ‘n’ roll. The first offers a great if undemanding line in melodic dexterity within its noisy canter while its successor melds pop catchiness with scorched noise in its contagious swing and both simply up the ante in a release already fixing its permanent position in the passions.

The album’s title track steps up next bringing its own voracious infection to ears and psyche. The Biggest Sound is as much a declaration of the album’s roar as its own controlled and eager suggestion for hips and vocal chords; an invitation just a little dirty and a whole lot irresistible before Big Town bounds in with a swagger soaked in sonic dexterity to drag the energies into lustful compliance all over again. Compared to some, it too has a rein on its attack, saving it for the grunge bred eruptions which urge greater zeal from song and listener alike.

The psych rock kissed minimalism of Brain Out simply seduces and manipulates straight after; Lucas in guitar and voice a puppeteer as the song sculpts pop rock in its purest form. Slim and forcibly low key its glory is matched by the contrasting creative howl of Changeover. To be fair, the song too has a fine twist in infectious restraint and inventive enterprise but still escalates into a fiery roar which sears as it seduces. Both tracks hit the spot like a rock ‘n’ roll cupid though each is slightly outshone by the throbbing saunter of Stranger In Blood. As across the whole album, Cailleaud creates a rhythmic enticement which lures eager participation and rock ‘n’ roll instincts like a siren. His net is then entangled in the sonic machination of Lucas; the pair combining to beguile and incite without reservation.

The album concludes with the sonic commotion of Dumb Feelings, a slice of voracious punk rock with a whiff of Iggy Pop and the psychosis of Melvins in its seriously catchy riot and finally the irresistibly nagging of Drifting. The song is majestic, its jagged body of riffs and harmonic flirtation a show stealer as it slips through a celestial climate which haunts the senses. A final twist in the creative adventure of the album, the track sublimely and inescapably leaves a longing for more which that play button instantly satisfies.

There is always something new to explore to take us away from even the best records, fresh encounters to assess, but there are a few which make it very difficult to move on from without just one more union, and another….. The Biggest Sound is one of those; a joy which still resurfaces to bring our day to an invigorating conclusion and that is maybe reason enough for all to go explore.

The Biggest Sound is out now through Dirty Water Records (USA), Adrenalin Fix Music, Beast Records, and Strychnine Production and available @  https://escobartheband.bandcamp.com/album/the-biggest-sound

https://www.facebook.com/escobarbandpage

Pete RingMaster 31/10/2017

Copyright RingMaster: MyFreeCopyright

SixTwoSeven – Some Other’s Day EP

You cannot just make up real rock ‘n’ roll; it is in the heart as evidenced by Seattle alternative rock outfit SixTwoSeven. You just know it is an instinct in the quartet as their debut EP, Some Other’s Day rumbles through ears to arouse the spirit across four riotous tracks.

Formed in 2016, SixTwoSeven consists of vocalist/lead guitarist Greg “illfunk” Bilderback, his brothers in drummer Matt aka “the Machine” and guitarist Jason aka “J Danger”, and longtime friend Mike “MK Ultra” Knapp. This line-up was actually completed during the recording of Some Other’s Day with producer Jack Endino (Nirvana, Mudhoney, Soundgarden) at Soundhouse Studios, Matt coming in for backing vocals and leaving as a fully-fledged member of SixTwoSeven.

The EP itself opens up with One Single Night, instantly luring ears with a dirty riff soon joined by Greg’s grumbling tones. Bass and drums quickly add their moody touches as infectiousness infests all aspects of the emerging track. The song’s swagger is right there grabbing body and spirit, the creative flames of guitar luring the imagination deeper into its own increasingly magnetic prowess. Altogether it is a masterful persuasion and quickly matched by successor Wreckless Soul. It too has a certain confidence in its gait and swing, vocals a lighter invitation in the grungier nature of the song but loaded with the same catchiness as the hooks and riffs flirting boldly alongside.

Joshua’s Song has a calmer personality which its melodic imagination exploits with emotion and invention. The harmonic blend across the band brings extra light to the song and the SixTwoSeven sound, the band showing the variety in their creativity. Admittedly, the song did not quite light the excitement as its companions but it certainly left a strong air of satisfaction before the EP’s best track brings things to a mighty close.

An aggressive slice of punk fuelled rock ‘n’ roll, Top of the World is a virulently contagious incitement which has body and emotions bouncing in quick time. It snarls and entices, prowls and stomps with attitude and zeal ensuring listener involvement is hooked in no time. One of the reasons maybe that the band has been compared to the Weezer and Foo Fighters, the track alone makes SixTwoSeven a prospect to keep a close ear upon; a thought more than reinforced by Some Other’s Day as a whole.

Some Other’s Day is available now @ https://sixtwoseven.bandcamp.com/album/some-others-day

https://www.dubsevenrecords.com/    https://www.facebook.com/SixTwoSeven627

Pete RingMaster 17/10/2017

Copyright RingMaster: MyFreeCopyright

Plastic Barricades – Mechanics of Life

Plastic Barricades is an alternative indie rock band from the UK which has just released their new album Mechanics of Life. It is a collection of melody spun songs which entice with craft and warmth whilst strolling through a landscape of emotions embracing the beauty of romance, hope, melancholy and more.  Musically its venture is just as welcoming of varied flavours as country, rock, and indie bred essences unite in ear pleasing enterprise.

London based, Plastic Barricades consists of vocalist/guitarist/keyboardist Dan Kert, bassist Daniele Borgato, and drummer Frazer Webster. Its beginnings though came in Tallinn, the capital of Estonia in 2007. Their well-received Tree of Ideas EP of 2012 was followed by Kert and original bassist, Jan Laan, relocating to the UK. A few additional members came and went before Laan left to be replaced by Italian Borgato in 2013. It was also a year which sadly saw the band’s Rome bred drummer Matteo Ippolito passed away bringing things to a standstill. In time a replacement was sought and found in Webster and the band pushed again to build on their already rising success. Numerous award nominations and successes have come with the increasing reputation of the outfit and a sound embracing the inspirations of artists such as Radiohead, Oasis, Coldplay, Muse, Keane, Razorlight, and Nirvana. Mechanics of Life is their next step in luring attention and a tempting easy to see those with an appetite for gentle yet emotionally stirring massages of melody will find very palatable.

How Goldfish Grow gets things rolling, its eager stroll and boisterous jangle instantly catchy and tempting. The song continues to tease before relaxing to cradle Kert’s vocals, though soon its lively heart jumps to its feet again with each following cycle becoming increasingly infectious. Melodies shimmer across the darker tones of the bass whilst Kert’s sonic flames add to the track’s controlled but open drama. It is a great start well backed by the slightly sturdier body of Singularity 2045 though it too is woven from warm melodies and electrified tendrils across spirited rhythms. As with its predecessor feet are a willing involvement just as ears are to the imaginative air of the song which at times has a XTC like essence.

The summery caress of Our Favourite Delusions is next, its warm simmer welcoming blues lined flames throughout; heat which matches the lyrical punches before Be the Change entices with its own radiant charm and social nurtured melancholy. It is a song which comes alive when energy and intensity erupts in voice and sound but certainly more than satisfies from its first reflective touch with the enterprise of Kert’s guitar a potent spice in it all.

As the individual melodic weaves of Around the Sun and Needles in Haystacks intrigue and award ears with their proposals, Mechanics of Life keeps unwavering attention in its hands, the pair if without quite matching the persuasive levels of those before only pleasing that focus. It is a success Shine! builds upon with its sultry climate and melodic glaze over a understated but firmly catchy gait and personality while Half of Your Soul straight after features the bewitching sigh of female vocals alongside Kert which only adds to its fascination; a lure with also just a hint of country warmth in its infectiousness.

The album finishes off with firstly the highly enjoyable and bubbly rock ‘n’ roll of Medicine Man, a boisterous canter of sound and creative drama which is followed by the similarly engaging and tempting Voices. Together both tracks establish the pinnacle of the release, the second taking favourite song honours before leaving Masterminds to close things up with its catchy folkish sortie through ears wrapped in blues kissed guitar and melody smiling keys.

There are times when there is a wish Plastic Barricades were a touch bolder in their imaginative adventures and put more of a bite into their arousing eruptions but there is no denying that Mechanics of Life more than delivers on enjoyment and enterprise.

Mechanics of Life is out now on iTunes and Spotify.

http://www.plasticbarricades.eu/    https://www.facebook.com/plasticbarricades/

Pete RingMaster 26/09/2017

Copyright RingMaster: MyFreeCopyright