The Strays – Drop Out Zone

With a description of “No Doubt meets Imelda May”, it was hard to deny an urge to go explore those it has been applied to. The fact that the protagonists in question’s debut album has caught the imagination of and been released by Western Star Records only added to that instinct. What we found was one rousing stomp of a release in the shape of Drop Out Zone from a band in The Strays which had us bouncing from start to finish with a highly appetising mix of rockabilly, garage rock, and fifties inspired rock ‘n’ roll with plenty more involved.

Cheltenham based, The Strays have already been teasing proper attention with the release of their first EP, Wham Bam, Thank You Ma’am, in 2017. It was an introduction of sound and potential potently reaffirmed by its successor Brand New Day the following year while the two records union together as Brand New Ma’am! earlier this year provided an ear grabbing tease for the upcoming adventure of Drop Out Zone. Of course some of us are only coming to the British quartet through the album but a look back shows The Strays an already captivating proposition with a sound to match but their new release sees the band at their most imaginative, adventurous, and striking yet.

With songs inspired by the band’s decision to quit their full-time jobs and focus on music and the struggles it brought and they conquered, Drop Out Zone quickly, hungrily had ears on board with the opening canter of first track, Hey Little Lady. Straight away the throaty lure of Kris Jakab-Hall’s bass colludes with the crisply landing swings of drummer Gary Chamberlain; their collusion instantly firing up attention and physical response before the spicy threads of Sam Cordery’s guitar added to the animated bait. The song’s subsequent potent stroll sees the magnetic tones of Stella Sonic complete the temptation, the spring in its step and grin on its face across as good as four and a half minutes setting the tone for the fun and enterprise fuelling the release.

Things only grow more compelling and contagious as 2Fives and Twos sets its creative trap, it too another song which needs mere seconds to grip ears and appetite as Cordery winds addictive melodic wires around both. Punk and rockabilly soon converge on the rock ‘n’ roll instincts of the song, its tenacious gait and contagiousness a quick infestation of body with the Pauline Murray-esque tint to Sonic’s voice icing on the delicious cake.

Night Time Is The Right Time grabs its portion of ardour next. Again the guitar casts a highly tempting lure to gets things boiling before, with matching flavours to those entangling within its predecessor, the track weaves its own individual boisterous romp. Sharp hooks and alluring harmonies go to highlight the inventive come-on before Oh Baby No opens up its jazzy arms to a seductive surf lined midnight stroll through rock ‘n’ pop drama. It is one of those tracks where it is easy to see where those No Doubt, Imelda May and for us Wanda Jackson references are bred.

The Strays certainly know how to kick a song off, each sparked by imaginative and irresistible leads and no more potently than that springing Get Out Of This Town into life. Guitar and rhythms surround ears with intrigue and salacious intent, nagging rhythms and a hooked loaded guitar groove taunting and dancing with attention before the song opens up into its swing-a-billy saunter, dragging the body easily along for the ride.

The album’s title track allows a breath to be taken though it too is a buddle of energy and infectiousness with its pop toned amble refusing to be ignored; Drop Out Zone proving increasingly manipulative by the second and chorus. It’s easy to ride contagion is soon eclipsed though as the psychobilly wired Can’t Get Through To You preys on ears with its Hillybilly Moon Explosion like predation and feral catchiness though it too is slightly outshone by its successor. Fire and Ice is a glorious fusion of hooked swamped rock ‘n’ roll flavours, a real temptress of a song soon ripping favourite track honours from any of its companions hands.

The intoxicating fifties country blues soaked nurtured rockabilly of Twelve Bar Booze, thoughts of Wanda Jackson again sparked by the great addition to the pleasure, and the heavy hard rock spiced rumble of Break Me Down effortlessly keep the album roaring in body and spirit, This Life following suit with its deviously persuasive foot stomping fusion of swing, garage punk, and rock ‘n’ roll, a full pleasure sounding something akin to The BeauBowBelles meets No Doubt meets The Creepshow.

Just Another Day completes the album, its fiery rock breath and instinctive rhythmic pulse swagger an unapologetically tempting canvas for the ever tasty tones of Sonic and the virulent craft and endeavours of the band. It is a fine end to an album which just got under the skin in swift time and devilishly nestled there thereon in; The Strays providing another of the year’s real pleasures.

Drop Out Zone is out now through Western Star Records.

https://thestraysmusic.co.uk/   https://www.facebook.com/TheStraysLive/   https://twitter.com/TheStraysMusic

Pete RingMaster 20/08/2019

Copyright RingMaster: MyFreeCopyright

Millie Manders And The Shut Up – Shutup EP

It rapaciously rattles as it tenaciously rolls, aggressively snarls as it leaps around with viral infectiousness. No this is not a riddle but the sound of Millie Manders And The Shut Up on their new EP, Shutup; a proposition which had us instinctively drooling even before the first track of the inescapably mouth-watering release reached its finale.

London based, Millie Manders And The Shut Up stepped out in 2015, the band emerging from Millie’s solo career sharing ear grabbing acoustic enterprise which itself sprung from varied previous projects including Second Sense. With The Shutup around her vocal dexterity and prowess on the ukulele and alto saxophone, the band creates a punk rock bred incitement eagerly embracing varied flavours from pop punk to ska to aggression loaded alternative rock.  Similarly though, there are moments certainly within the Shutup EP, our introduction to the band, when essences of styles such as swing, new wave and R&B more than tease. It is truly an appetite rousing crossover flavour which with hindsight shows just why the first two EPs from the band, The Free-P and Obsession Transgression, were so warmly welcomed and praised by fans and media alike and now why, finding its fullest most adventurous character yet, it is a sound which seeds one of the year’s most exciting offerings.

The EP opens up with Right To Life, a shimmer of guitar caressing the immediately striking presence and voice of Millie as the song rises slowly but purposively to its feet. Its sepia jazz kissed sound is alluring enough, Lewis Slater’s guitar winding up the temptation, but it is just a smouldering kiss before the boisterous carnival of its stomp to come. A flick of its hips and the spontaneous burst of dancing flames from the trumpet of George Alan and the tenor sax of Dom Walker spring the track into contagious urgency; ska punk instincts entangling its more spiky rock endeavour as the track bounds along like a mix of Sonic Boom Six, No Doubt, and The Selector. Yet even with those easy to offer references, song and sound swiftly proves its own uniqueness with Millie herself vocally as individual as they come but with a  great whiff of Brody Dalle in league with Imelda May and Pauline Black.

The track is superb but instantly rivalled by its successors for favourite track honours here starting with Brave. The imposing ticking of a clock incites the muscular swings of drummer Alessandro Vitiello and as quickly the magnetic tones of Millie. Slipping into a slightly more restrained canter compared to its predecessor initially, the song carries a portentous air; an inviting threat which erupts with fiery blasts of brass searing its chorus placed expulsion. As with all tracks, the body was quickly manipulated by the captivating antics of the song, the imagination and appetite as quickly seduced and enslaved before the equally irresistible Lollipops launched its own compelling escapade. Again Vitiello’s beats thump away with relish and poise as the even grumpier bass of Matt Munford twangs with tenacity, the guitar adding its attitude lined riffery to the virulent slice of punk rock.

New single, One That Got Away, completes the creative scheming and magnificence. The coaxing of the fuzz lined guitar alone offers intoxicating hooks but every aspect of the song from rhythms, brass, and vocals breed their own distinctive barbs to be hooked and aroused by. It might be punk in its heart but as all tracks, it is pure rock ‘n’ roll; manna to the ear and instincts.

Millie Manders has been sharing the goodness for many years now but the Shutup EP is surely the moment attention explodes around the band; so just do what it says and get down to some serious inhibition free rocking.

The Shutup EP is out now @ https://milliemanders.bandcamp.com/album/shutup

Upcoming live shows:

October

25th – The Waterloo, Blackpool

November

9th – Pie Race, Warf Chambers, Leeds

10th – Breaking Barriers, Leuven, Belgium

December

1st – Fighting Cocks, Kingston

7th – The Harp Restrung, Folkestone

8th – Blueberry, Norwich

13th – Portland Arms, Cambridge

14th – Smokehouse, Ipswich

15th – Voodoo Lounge, Stanford

21st – Alma Inn, Bolton

22nd – The Bobbin, Lancaster

23rd – The Ainsty, York

https://www.facebook.com/milliemandersmusic/   https://twitter.com/milliemanders   https://www.instagram.com/milliemanders/

Pete RingMaster 03/10/2018

Copyright RingMaster: MyFreeCopyright

Sick N’ Beautiful – Element of Sex

pic by Stefano Mastronicola

There are some bands which instinctively allure attention and it is fair to say that Sick N’ Beautiful is one such persuasion as their recent headlining UK tour proved. Their new album Element of Sex swiftly and increasingly shows why they made a potent impact through those shows alone, a release which whilst lacking the visual theatrical drama of their live presence uncages ten virulent slices of devilish rock ‘n’ roll.

“A gang of rockin’ freakshow pirates from outer space”, Sick N’ Beautiful is a quintet creating an industrial hard rock web of intrigue and sonic animation awash with creative drama. Brewed with sci-fi and cyberpunk visuals whilst embracing inspirations from a kaleidoscope of artists including Rob Zombie, Nine Inch Nails, Alice Cooper, Kiss, Lady Gaga, Katy Perry, and No Doubt, the “intergalactic refugee’s” music is a cascade of flavours and enterprise within its hard rock nurtured imagination. In boldness and drama there is something of The Tubes to the band’s presence too which only adds to its magnetism live and now within Element of Sex.

Familiarity and inventive uniqueness collude from the first breath of the album with opener Fire True, an orchestral coaxing the first lure quickly infested with wiry tendrils of guitar which in turn entice the instantly rich ear grabbing vocals of Herma. Within seconds the track is an imposing wall of thick infectious sound speared by the scything swings of drummer Evey. Pop catchy and metal aggressive the track imposes and seduces in equal measure with the organic drama of the band’s imagination in every syllable, note, and twist.

It is an infectious tempest of an encounter instantly backed and eclipsed by next up Megalomaniacal. Straight away it has more urgency and greater flexibility in its attack; snarling, biting, and dancing with the senses like a carnal celebration behind the fiercely magnetic prowess of Hermes. Big Daddy Ray’s bass has a great rockabilly swing to its growl at times whilst guitarists Rev C2 and Lobo spring a trap of enterprise so easy to relish especially when the song takes a breath from its boisterous invasion.

The calmer All Wanna Go To Heaven through its initial less energetic entrance, compared to its predecessors, only leads into a snare of boldly catchy and melodically enticing temptation. The voice of Hermes once more stands tall and captivating within the song, a given proven track by track as the sounds around her cast their creative theatres. Pop, rock, and metal strands all go into its ear wrapping weave before the contagion of Hellawake continues the diversity bred within the Sick N’ Beautiful’s sound with its electro pop meets industrial punk shuffle.

Through the tempestuous roar and character of Slam! and the salacious sonic exploits of Hexxx (The Element Of Sex), the album just gets more hectic and fun, both songs a spark for ears and body with their extremely danceable antics, the outstanding second of the two especially manipulative as it grabs limbs like a puppeteer.

Cryptid similarly just opens up the throttle from its first gasp; rhythms and imposing incitement within the scuzzy tides of guitars wired with melodic and hook laced tempting. It is another where certain moments unite with ears like an old friend whilst bringing wholly new propositions alongside for a compelling mix exploited just as ably by New Witch 666 (The Rising). Its EBM-esque opening is a deceit for the dark shadows and intent lurking closely behind and a continuing enticement as those textures take rein of the devilish affair. Though its rabidity is under control for the main it is there festering in the track’s meaty body and demonic intent.

The skilfully woven Heart December (Gates II) with its dark drama and gothic rock grandeur was a slow burner for our ears, a track which never quite ignited as those before it but continues to be a compelling intrigue on ears and imagination even against the album closing blaze of C*Mmunion. Aggressive and at times musically grouchy but as greedily catchy as you could wish, it brings the album and the torrent of fun to a rousing conclusion.

And that pretty much sums up Element of Sex as a whole; insatiably infectious, relentlessly rousing, and unapologetically fun. Maybe Sick N’ Beautiful is a proposition which is at its very best live when all of its elements come together musically, visually and indeed dramatically but their new offering shows their songs make for very potent propositions all on their own.

Element of Sex is out now on the band’s own Rosary Lane Records; available @ https://www.sicknbeautiful.com/store and other stores.

https://www.sicknbeautiful.com/   https://www.facebook.com/sicknbeautifulband/   https://twitter.com/sicknb

Pete RingMaster 10/07/2018

Copyright RingMaster: MyFreeCopyright

VNDTA – Pale Glow

The moments of being truly bowled over by a release or ‘new’ band, introduction wise, seem to be far and few between right now but leave us on our backs with jaw wide open with exhilarated awe is just what British metallers VNDTA did with their debut EP, Pale Glow. With a sound which manages to caress and seduce whilst ripping out and feasting on the senses, the Hertfordshire quartet have just announced themselves as a real big deal.

Though formed in 2015, it was 2017 which saw the band really worry attention and acclaim as they shared stages with the likes of Aghast, Vanity, King Leviathan, and Confessions of a Traitor as well as a host of their own headlining shows. To be honest, Pale Glow is actually our introduction to the band and there could be no better a way to meet them and form a lustful union between music and ears.

Like a fusion of the raw aggression and spiteful trespasses of Iwrestledabearonce and Otep with the virulent catchiness of No Doubt and The Cardigans, the VNDTA (pronounced as vendetta) sound swiftly reveals itself within their latest encounter to be as unique to the band as you would wish. Tagged as alternative metal it embraces a host of other metal and punk flavours in its cauldron of intimation and intimidation. The recording of Pale Glow came within a turbulent time, vocalist Megan Targett admitting that “Recording the EP was probably the most difficult week of my life. We were broke, spent weeks living in my car; I ended an abusive relationship and lost a family member. But it didn’t stop me. We used the pain to fuel raw passion into the vocals and the music.” That passion is clear to hear as the EP’s tracks devour and arouse second by second.

From the moment the EP’s title track looms right up from its distant entrance attention was not only hooked but chained to what was to follow. Wiry tendrils of guitar wrap around ears immediately, senses slapping beats alongside and once the first track hits its voracious stride and the vocals of Targett unleash their incitement, the deal between lust and the devil’s music roaring from the speakers was done. Swiftly the singer impresses with a throat abrasing attack and venomous delivery but it is when she breaks into a glorious clean delivery that realisation at her talent is inescapable. Before then guitarists Callan Hughes and Jay Bacon gnaw at and chew on the senses, twisting and turning with grooves as their hooks pierce with imagination as the swinging rhythms of drummer Willem Mason-Geraghty infest body and spirit just as potently. The track is immense and no better way to succumb to the first abusive seduction of VNDTA.

Well we say that but the highlights just flood ears thereon in, the following Excuses a feral yet skilfully honed temptation as contagiously infectious as it is violently manipulative. Targett croons first this time, harmonically enticing as the band spin their creative web. There is of course a constant growl in the throat of singer and song, one subsequently erupting with carnal designs though still with melodic veining and atmospheric suggestion for inventive company. Involvement in voice and attitude is unavoidable as too with next up Swine, a tempest of contrasts and intensity amidst the drama of the imagination. Another as wickedly catchy as it is uncompromisingly gladiatorial, the song is another which just stirs body and spirit.

The visceral and physically twisted enterprise of Martyr is a sonic virus, getting under the skin and into the psyche within a few insidious breaths from where it burns and seduces with toxicity and beauty, again pretty much simultaneously as the sounds abound the senses with antipathy and infectiousness as Targett again simply exhilarates. The suggestive calm which bridges it and successor Rare Breed is magnetic yet soon in the past as the following creative escapade erupts. Again a tapestry of flavours and intrusion descends on ears and once more pleasure is swift and continuous. From voice to sound, melody to rhythm the song is a mercurial adventure rewarding at every twist and tempting at every turn imagination, unpredictability fuelling every moment.

Emotion and passion equally soak every breath and note, the final pair of Leeches and Virus blossoming with both. The first is carnivorous from the off, music and voice an intrusive animus but instantly as catchy as the lighter harmonics which intersperse the tempest of technical, extreme, and grooved endeavour with a fine line in progressive intuition. The track is yet one more immense moment within Pale Glow, a predator of the finest incitement pretty much matched by Virus. Straight away it gets under the skin though maybe no more than its other striking companions, but by the twist and turn it digs deeper and becomes more toxic and intoxicating but similarly graceful as it revolves its attack.

The excellent encounter completes the outstanding release, a nationwide introduction surely leading to bigger, broader, and richer things much as their sound blossoms across its length. Once in a while a band really excites, at the time and for things ahead. VNDTA has us drooling and we can only say go see why.

Pale Glow is out now, available @ http://vndtashop.bigcartel.com/

https://www.facebook.com/VNDTA/    https://twitter.com/VNDTA_OFFICIAL

Pete RingMaster 17/04/2018

Copyright RingMaster: MyFreeCopyright

Bad Mary – Glitter Bomb

These past three years has seen a greedily enjoyable annual expulsion of attitude and fun in the shape of a new EP from US rockers Bad Mary. This year’s riot comes in the shape of Glitter Bomb, an upcoming six track stomp of punk ‘n’ roll which knows all the right spots to tease, seduce, and turn into feverish submission.

Straightaway we can announce Glitter Bomb to be the Long Island, New York based quartet’s most infectious and belligerent offering yet embracing an array of styles and creative devilry which just sets the imagination and appetite aflame. Equally it is their most accomplished outing yet basking in another fresh step in maturity in writing and its realisation as well as even bolder adventure. Like the illegitimate offspring of an illicit affair between The Ramones and No Doubt as The Objex share their riotous juices, to simplify the bold confrontation, Bad Mary and Glitter Bomb explode on the senses with unbridled and fiercely enjoyable mischief.

The beginnings of Bad Mary came in 2009 with Hofstra University professor and guitarist David Henderson linking up with students for a covers band; something he regularly did. That year’s line-up included vocalist Amanda Mac and bassist/vocalist Mike Staub. As personnel changed the three remained with the current line-up eventually completed with the addition of Amanda’s father Bill Mac on drums. The quartet then began writing their own songs from 2012 with debut release Better Days drawing swift praise the following year.  The band has simply gone from strength to strength in all ways ever since, an ascent potently marked by their previous two EPs in the 2015 Killing Dinosaurs and last year’s We Could Have Saved the World. Both established the foursome as one of the truly exciting propositions on the pop/punk ‘n’ roll scene, a declaration confirmed and pushed forcibly on by Glitter Bomb.

Recorded with Brian Crowe at Kreischer Mansion Studios, their new release opens up with Motor Mouth needing little time to have the body bouncing and instincts to rock uncaged. Commandingly infectious from the off as riffs and rhythms frame the potent vocal presence and hooks of Amanda, the song is a punk rock bred pop infested persuasion soaked in attitude and rascality. There is nothing majorly remarkable about the track yet every second is instinctive temptation laying the grounds for a lusty adventure continued by next up Still Love Me. The outstanding second song swiftly shows more of the magnetically powerful tones of Amanda, her alluring roar superbly backed by those of Mike as riffs and hooks dance within the early No Doubt/hard rock spiced punk stroll. As its predecessor, the song infests ears and imagination with viral like efficiency, raising the temperature and involvement of the listener by the second while a roving bassline is the icing on the contagious cake.

The EP’s title track brings a riveting surge of raw rock ‘n’ roll which is something akin to Penetration meets Sharkmuffin before Hybrid Moments delves into Misfits like territory with its devious antics. Both tracks leave a grin on the face and lustful energy in the body and passions, the second of the pair especially appealing with the vocal union of Mike and Amanda. Their triumphs are soon more than matched by the hungry punk ‘n’ roll call of Soul Mate, a song oozing with the band’s organic creative attitude and an infectious virulence most bands can only dream of.

The EP concludes with Japan, an irresistible collusion of Ramones inspired riffs and Plastic Letters era Blondie pop contagion twisted with Bad Mary’s own individual devilry for a storming end to the band’s finest moment to date. Glitter Bomb is insatiable pop, irritable punk rock, and ferocious rock ‘n’ roll rolled into a proposal which quite simply is the business.

Glitter Bomb is out September 29th with pre-ordering available now @ https://badmary.com/shop/

https://badmary.com    https://www.facebook.com/badmaryband   https://twitter.com/BadMaryBand

Pete RingMaster 01/09/2017

Copyright RingMaster: MyFreeCopyright

The Hostiles – Last Call

The Hostiles Promo Shot_RingMasterReview

Giving the most glorious workout to swinging hips and inexhaustible feet, as well as instinctive pleasure, Scottish Ska-punks The Hostiles recently released new album Last Call. It offers thirteen tracks of melody thick, brass clad, and feverishly delivered punk ‘n’ roll as raw and snarling as they are inescapably irresistible.

Formed in 2001, The Hostiles began with brothers Josh (guitar/vocals), and Chris Barron (bass/vocals). Growing up in the US, the pair was seduced by the sounds of west coast ska and the likes of Reel Big Fish, NOFX, and No Doubt. In their teens, the pair moved to Scotland, soon discovering the rawer energy and sounds of bands such as Capdown, Lightyear, and King Prawn. Linking up with Callum Douglas (drums) and Steve Bruce (trombone), The Hostiles was soon rousing the local live scene with in time Joe Stainke (trombone) completing the current line-up. Quickly renowned for their energetic live performances, the band’s reputation swiftly grew and spread, helped in turn by the release of debut album Always Looking Forward in 2009. Proceeding to share stages with bands such as Reel Big Fish, Less Than Jake, Zebrahead, The Mad Caddies, Strike Anywhere, and many more, The Hostiles followed up their attention luring first album with the Late Nights… And Early Hours EP in 2012 and the single/video For A Good Time Call 07946058526 two years later.

Now it is Last Call drawing attention and from its first minute arousing body and spirit. From the opening intro, the album leaps upon the listener with opener Ed Knows. An attitude laden bassline stalks the initial vocal draw, both leading into a fiery lure of guitar and rapier like swings from Douglas. Quickly as the trombones share their melodic flames, the track is a contagious blaze of infectious sound with a funk infused swing and punk ingrained fuel to its roar. There is little time before the listener is adding their full contribution in voice and movement, a success matched in the following Inconsiderate. A lighter stomp of a song with Hammond flavoured keys courting its instantly open catchiness, it carries a familiar air which only adds to its thrilling appeal.

The Hostiles Cover Artwork_RingMasterReviewThe band’s inspirations are never far from the surface at times, the second song evidence but spices used to shape songs which undoubtedly have The Hostiles character, as shown again in the prowling You Liar. Swaggering alone with mischief in its creative glands, the song is confrontational but an epidemic  of big hooks and intimidating attitude, and quite superb. It reveals the great mix of pop honed and punk rock driven sounds which have sparked the band’s passions over time, all woven into another distinctive proposition before things calm a touch with I’ll Assume. It is just a touch too as the song soon shows its teeth and melodic prowess in a King Prawn like canter with exotic melodies and moody basslines entangling the ever potent vocals and swathes of mariachi hued trombone.

Both Night Out with its dirty tone and ridiculously infectious enterprise and its successor Wish You All The Best has body and soul leaping. The first is ska punk at its most creatively virulent and indeed addictive while the second is a boisterous romp shaped with smart hooks and persuasive melodies as well cast in imaginative drama coloured by rock guitar and theatrical brass.

The album continues to keep the listener on their toes with a broad grin on their face as the punk brawl of Spend My Life, the gentler sway of So, I Wonder, and the blazing exploits of Late Nights come, go, and leave ears and appetite aroused. The third of the trio especially adds another pinnacle to Last Call, all offering undeniable reasons to embrace The Hostiles adventure, with To Err Is Human providing another major highlight. The band’s latest single, it also has a hint of Mariachi El Bronx to its melodic and trombone nurtured side, a great flavour mixing with heavier punk rock attitude.

Released From Captivity uncages another addictive tempting, guitars and bass alone creating a web of hooks which snare body and heart with ease. Familiar essences come to the surface of the song but flavours simply used to shade its own individual devilment before the closing pair of encounters starting with Nobody Else. The song does not make the same impact as others within Last Call, yet has mutual participation with ease so does little wrong before the album’s title track brings it all to a cantankerous close. It is a ska infested hardcore brawl of a proposal, vocals a throated scraping challenge as brass bring a tonic to the imposingly grouchy touch of guitar and rhythms.

It makes for an unexpected and pleasing end to a release which sees ears and fingers itching to go again within seconds of its close. There are a few rather special ska flavoured punksters around right now and as proven by Last Call, The Hostiles stand by their side.

Last Call is out now on Bubble Tea Records @ http://thehostiles.bandcamp.com/

https://www.facebook.com/thehostiles/   http://www.thehostiles.co.uk/

Pete RingMaster 05/08/2016

Copyright RingMaster: MyFreeCopyright

Indya – Harder Faster

Indya_RingMasterReview

Need something to put some spirit rousing energy and vitality into your day? Then we suggest checking out the new single from UK band Indya for a swift and highly agreeable shot. Harder Faster is a virulent stomp of rock ‘n’ roll with the anthemic prowess of Andrew W.K., the pop infectiousness of Gwen Stefani and No Doubt, and the inventive dexterity of Pryti; a rebel rousing, thigh slapping slice of devilment just as happy to add some flavoursome glam to its hard rock bred adventure too.

Indya is led by vocalist Natalie Indya West, a songwriter/musician who was in the arms of music from an early age through her Mother’s keen and eclectic taste for artists such as Free, Bad Company, David Bowie, Rainbow and many others. From school, Natalie went on to study music at the Performing Arts & Technology school in Croydon before going on to study at the Colin’s Performing Arts College in Essex. Having to fund a large part of her schooling herself, she eventually took up a job as a pole dancer in a Gentleman’s Club, an experience which saw her fall in with the wrong crowd and into a subsequent debilitating habit. It is a time though which gave a spark to her songwriting and the often raw lyrical themes explored within that cathartic release.

Indya art_RingMasterReviewPerforming as a singer and professional dancer over recent years, Natalie eventually pulled together the band which is Indya last year, recruiting the talents of guitarist Daniel Baune, bassist Raymond Tagnola, and drummer Tobias Miorin to help bring her life bred songs to life. Combining inspirations from the likes of Rainbow, Deep Purple, Bowie, Madonna, and Amy Winehouse into their hard rock seeded rock ‘n’ roll, the band is looking to make a potent impact on ears and attention in 2016, and if Harder Faster is a sign of things to come, it is hard to see them failing.

The song opens on a great blues meets glam rock groove, beats badgering its lure with their own feisty bait. Things soon settle into an infectious canter as Natalie’s vocals flirt with and dance on ears and the imagination. The virulence of its energy and rousing bounce alone has hips and appetite gripped, the dexterity of vocals and melodic enterprise only adding to the easy going yet heavily dynamic proposal. The song is pure rock ‘n’ roll, but equally prime pop with a touch of punk to it too and quite irresistible.

Providing the thrilling lead to Strip Me Down, their new EP, Harder Faster has all the temptation to bring the UK music scene to the point of no return with the name Indya on its lustful lips.

Harder Faster is out now.

http://www.indya-band-official.rocks/      https://www.facebook.com/Indyaukmusic   https://twitter.com/IndyaOfficial

Pete RingMaster 25/04/2016

Copyright RingMaster: MyFreeCopyright

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