The Spider Hole – To the Monsters

The readymade entertainment to grace any Wickerman like pagan ritual or meeting of The Monster Club, The Spider Hole unveil a new carnival of dark deeds and imagination prowling adventures under the guise of To the Monsters. The band casts the listener into the heart of gothic tales and creature stalked escapades across the album’s eleven frightmares, each as compelling and arousing as another and all leaving these ears lustfully desperate for plenty more such devilish trespasses.

Hailing out of Phoenix, Arizona, The Spider Hole create a unique and fascinating sound which beguiled as it surprised with its inherent unpredictability within a voracious rock ‘n’ roll heart across To The Monsters. Inspirations to the band are said to include the likes of Tom Waits, Oingo Boingo, Siouxsie and the Banshees, Primus, The Pixies, Frank Zappa, and The Doors; some of which can be openly sensed within the lure of songs. To that we would suggest there are essences that remind of bands such as Helldorado, The Men That Will Not Be Blamed For Nothing, and even more so at times Th’ Legendary Shack Shakers but all spices in a proposition fiercely individual to The Spider Hole.

A mere breath was all it took for our ears and imagination to be coaxed into life as opener Werewolf Biker Bastard cast swarthy sighs of guitar, Kilen continuing to entice with strands of melodic intimation as the growl of vocalist Ethan Scott began its dark narrative. Keys add to the prelude of the adventure before things erupt into a tenacious stroll with its own eager swagger. Sweltering psych springs colour the climate of intimation as bold rhythms continue to prowl amidst the infectious landscape of suggestion and animation.

The outstanding start to the album is in many ways just an appetiser to things to come, each song setting out its own individual web of craft, magnetism, and dark endeavour as epitomised by next up Still Draw Breath, a slab of primal yet deviously designed rock ‘n’ roll with a blues lining to its rise through dank cold earth. The bass of XerXes Quinn is again a predatory lure easy to succumb to as equally the biting incitement of drummer Bobby Blades; the body secured in their trap as guitar and vocals take care of the imagination with their individual tales. With a Misfits-esque draw to its holler, the track just steals self-control like a puppeteer, bones jerking to his incitement as vocal chords eagerly joined with Scott in the track’s voracious carousing.

Hungover at the Eel God Festival is a far calmer yet almost predacious proposition and it too left body and throat subservient to the thick web of temptation it casts with unscrupulous craft. There is menace in its heart and air to equal the seduction in its sound and stomp, band and album continuing to lead us on a salacious dance before Rock, Your Body sprung its own skilful scheming across a pop fuelled, virulently contagious rock ‘n’ roll saunter. An element of enterprise and contagiousness reminding a touch of Black Space Raiders on their last couple of albums only adds to the increasingly raucous and thrilling emprise of sound and manipulation.

The glorious fevered ballad of Chomp-Chomp is next to ignite the senses and passions, its calling swiftly becoming a boisterous blend of fifties inspired rock ‘n’ roll and Rocky Horror theatre and simply inescapably addictive while The Goat Witch of Cornman Road commands the same rich attention with matching prowess through its crepuscular serenade woven upon a skeleton of big rhythms coated in vocal passion and bound in the sonic and melodic intimation escaping guitar and keys. Both songs simply bewitched though they are still slightly eclipsed by the mighty cavort of The Leviathan Stomp. Bestial yet agile in its dynamics and twists, the track as to be honest all, simply had us gripped in its temptation soaked hands.

The cinematic fears of Devil By a Nail initiate a lively shuffle of funk and psych rock eagerness next, the song casting its own Machiavellian enterprise to enslave ears and involvement before The People Who Come Out of the Ceiling creeps into the psyche where it seduces with a tantalising and mesmeric croon with volatility in dark heart. At certain moments Scott’s ever riveting presence and tones are joined by the delicious lure of female vocals though we cannot give a name to their siren whilst in sound the song simply stalks and prowls with rapacious desire; it all together uniting for our favourite moment within the album.

Night of the Nighty-Night Slasher completes the plethora of ghastly tales, its blood strewn romp a tempestuous roar of Ripper like goodness bringing To The Monsters to a mighty and ravenously rousing close.

There are times when we are truly bowled over and lustfully devour the exploitation of our inherent weakness for rabidly inventive but organically hearted rock ‘n’ roll however it is designed and To The Monsters stamps down one of those; an instinctive love of creepy tales and horror fuelled rascality only added extra icing on the pleasure The Spider Hole has undoubtedly unleashed.

To the Monsters is out now across most stores.

https://www.facebook.com/pg/TheSpiderHole/   https://twitter.com/TheSpiderHoleAZ   https://www.instagram.com/thespiderhole/

Pete RingMaster 11/07/2019

Copyright RingMaster: MyFreeCopyright

Sushi Rain – Cocktail

 

SRhttps://www.facebook.com/SushiRainOfficial

In reference to its mix of sound alone, Cocktail is the perfect name for the new album from Tuscany hailing progressive funksters Sushi Rain. It is an energetic and imaginative maelstrom of flavours and styles across twelve tracks as individual to each other as they are united in unpredictable adventure. It is at times also as intoxicating as its namesake and even in moments where personal tastes do not connect as fully as in other moments, a lack of enjoyment is never an issue.

The beginnings of Sushi Rain go back to Italian hard rock band Valentine and its remaining four members around 2008. A band inspired by the likes of like Extreme, Gun’s Roses, Living Colour, and Faith No More, it had already begun incorporating main elements of funk and cross-over to create a distinctive sound. Soon the line-up of songwriter/lead guitarist Francesco Bini, vocalist Matteo Carrai, rhythm guitarist Stefano Maestrelli, bassist Saimon Sieni, and drummer Francesco Micieli pushed further forward with this evolving sound though across the following year a host of changes ensued. 2009 saw the departure of Maestrelli and Sieni, a name change to Sushi Rain, the beginning of the recording of a debut album, as well as the addition of firstly bassist Davide Biondolillo before Marcello Arena took over and also keyboardist Alessandro Biondi and alto saxophonist Alessio Crocetti.

First album Breathless appeared in 2011 to good responses from fans and media alike, it backed by successful live adventures across Italy and into Europe over the following year. More changes saw Crocetti leave the band during the start of creating their second album, to be replaced by Florence based American saxophonist and blues-soul vocalist Nadia Koski with a pair of backing singers in Giada Secchi and Sandro Toncelli also joining up. Completed earlier this year, Cocktail is the captivating refreshment emerging from the ‘fun’ of the previous few months and something for all to find some feel good tonic in.

SUSHI-RAIN_COVER_RingMaster Review    The album opens with Pop yoy pay, a slither of an introduction certainly awakening ears with its fun drama of bad entertainment being disposed of for the funk revelry of Sushi Rain and first song proper, Bunga Bunga. The second track is instantly inciting feet to shuffle and hips to sway, riffs and hooks as inviting as the flames of sax and the theatre of vocals already whipping up the imagination. Straight away as the infectious encounter tempts further involvement, essences of bands like Extreme and Red Hot Chili Peppers, and maybe a touch of Mr Bungle, are a spicy pleasure but only essences in a recipe already emerging as distinct to the band. It is a great true start to the album, a devilry to get all funked up with.

The following Why? similarly has the body involved with its tangle of tangy grooving. Its pop funk prowess is a virulent persuasion driven by a great mix of vocals across the band and a rhythmic enticing as catchy as the sparkling hooks and mischief within the incitement. Keys layer psych seduction and imagination into the mix too, another flavour colluding with equally captivating jazz enterprise and pop rock tenacity as the song reveals more diversity within Cocktail. This kind of variation is a perpetual lure within the album and continues in varying degrees in the reflective croon of One last night in Philadelphia, an emotive hug of melodic rock and the boldly simmering tango of Pillows. Neither track quite match up to the previous pair but both create a web of invention and unpredictability that has ears and appetite a little greedier. In many ways Sushi Rain is like a funk/classic rock version of Russkaja or Kontrust; a band twisting a horde of diverse flavours and textures into something instinctively different and invigorating to most things around them.

The smoky beauty of March of groove comes next, its noir lit climate a sultry seduction with jazz bred scenery enclosing rich blues rock tempting whilst the melancholy hued Free brings a compelling calm with its heart bred croon. Acoustic guitar provides a tender hand on ears but it is the superb blend of vocals across Carrai, Secchi, and Toncelli which steals the show. Both songs, and especially the latter leave a richer pleasure and want for more in their wake, a hunger fed by the excellent fiery roar of Jesus cries from your eyes and the melodic romance of It’s time to believe. The first of the two is a boisterous bundle of hooks and grooves bound in electronic imagination and sonic flirtation, matched and at times eclipsed by the brass enterprise of Koski, whilst its successor is a sublime summers day of reggae riffs and grooving aligned to Caribbean temptation and a feel good tonic of vocal and smiling melodies.

Things get dirtier and rock ‘n’ roll with Sushi Rain can’t write a single next, the song a grooved stomp with contagious attributes from start to finish, though for these ears it does lack that final spark and invention to rival earlier treats. There is no escaping some gorgeous twists and elements inside it though as too within the outstanding Brain drain. Like Oingo Boingo meets King’s X, the track is a bubbling infestation of body and soul sculpting another lofty high within Cocktail before the album drifts off with mellow charm in to the sunset via One.

It is a captivating close to an album which just gets more persuasive and enjoyable with every listen; even within this review and another simultaneous listen, Cocktail has grown again. For some this could be an album of the year contender, for others a pleasure to pass through now and again but for all, Sushi Rain is a proposal sure to leave ears and emotions feeling good.

Cocktail is available now via Indian record label Jackson Records through most online stores.

https://www.facebook.com/SushiRainOfficial   https://twitter.com/sushirain

Pete RingMaster 26/11/2015

Copyright RingMaster: MyFreeCopyright

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The Tuesday Club – Lady Gargar EP

TTC_RingMaster Review

After a summer taking their notorious concert party around the UK to the usual heavy dosage of acclaim and noise complaints by the neighbours, The Tuesday Club are breaking out the tea and tunes with the release of new EP Lady Gargar. The third in of a set of 4 EPs eventually uniting for the band’s next 4 x EP Box Set album, the ‘Body’ section of the eventual full-length brings three songs drenched in the recognisable Tuesday Club sound and devilry but as is always the way finding just that little more mischievous invention to refresh and excite.

Still looking and endearing like rejects from the Home Guard, men and woman who most likely would have been thrown out for goosing the vicar and flattening haystacks in the arms of land girls, The Tuesday Club just get more essential and addictive with every release, Lady Gargar as an EP and new single no exception. The successor to the My Consciousness EP out last October and the Forbidden Kiss EP of June this year, Lady Gargar romps and stomps like a Canadian/US soldier providing illicit booty in the Blitz, seducing and swaying with virulent punk ‘n’ roll pop temptation.

ep cover_RingMaster Review   The EP opens with its title track, the Walmington-on-Sea septet bringing Lady Gargar into view on a lone scrub of guitar and soon after, the distinctive vocal devilment of Andreas Vanderbraindrain and The Minx. Like Dirk Wears White Sox Adam and The Ants colluding with Oingo Boingo era Danny Elfman, the track slips through ears with thick flirtatious hooks and a broadly smiling swagger. Within this festivity, the keys of Rogerio Marauder bloom with melodic warmth as the beats of Titti Bartelski jab and lead an inescapable incitement on feet and hips. Everything about the song is magnetic, the guitars of Dave Worm and J Rod spewing catchy riffs and grooves as freely as the bass of The Beautiful Wolf wanders through it all in its own individual way.

Scars are Superstars steps up next, straight away laying down bait of jagged riffs and punchy beats as the rest of the band add their infectious spices with increasingly riveting success. Weaving in new wave and power pop enterprise into its relentlessly keen energy and gait, the song bounds along like a teenager in the heat of summer and puberty; grinning with sparkling hooks and the ever becoming vocal union of Vanderbraindrain’s spiv like devilment and The Minx’s Amazonian lure.

     Resistance (Makes the Heart Grown Fonder) completes the line-up upon the EP, its personal instant magnetism the perfect coaxing into an even stronger contagion of inimitable temptation. More a canter than its predecessors, the song ambles along with a Radio Stars meets Wreckless Eric enticing, at times a whiff of Ten Pole Tudor also showing its scent, simply bewitching at all times as it incites the body to use every angle at the hips disposal for a gentle but determined swing.

Recent releases have shown The Tuesday Club on a trend of being more and more creatively captivating with the Lady Gargar EP their new pinnacle in the defence of our pleasures and souls. Roll on EP 4 is all that is left to say.

The Lady Gargar EP is released on October 19th wit pre-orders available now @ http://thetuesdayclub.tmstor.es/cart/product.php?id=26399

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

Upcoming Live shows:

Oct 19 8:00pm     The Horns     Watford, UK (EP Launch Show)

Oct 23 8:00pm     PDM At Harveys     Luton, UK

Oct 24 7:00pm     Cockfest! at The Town Hall     St. Albans, UK

Oct 31 7:30pm     Trestle Arts Centre     St. Albans, UK

Nov 01 6:00pm     Lower Red Lion     St. Albans, UK

Nov 08 8:00pm     The Garage     London, UK (supporting Toyah)

Pete RingMaster 14/10/2105

Copyright RingMaster: MyFreeCopyright

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Bobgoblin – Sinistar

Bob Goblin

Music can be so frustrating at times especially when you cannot understand how a band with a song as dynamically addictive as Sinistar can escape attention for so long. Such is the case with US power pop/new wave band Bobgoblin. Formed in 1994, it has taken two decades for us to catch up and on to what their fans have known for so long, that this is one rigorously infectious and exciting band.

Of course one song does not paint a history but a swift backward search confirms the suggestion of the band’s brand new single, though now the band is on a new and even more exhilarating plateau. Formed as mentioned over twenty years ago by vocalist/keyboardist Hop Litzwire and drummer Rob Avsharian, who met whilst at University of North Texas, Bobgoblin was soon in full swing with its initial line-up completed by bassist Hech MaHech and guitarist Lech Vogner, before they were replaced by Tony Jannotta who took on both roles. Line-up additions and departures followed but the trio remained the stable heart of the band as their live stature grew and releases like Jet and The 12 Point Master Plan increasingly impressed and recruited fans. Also creating another project called AOJ (or Adventures of Jet in reference to the group’s first independent release) which took up a fair chunk of the time between their start and now, the trio has kept the years and ears busy, though yet to make that break through beyond their homeland it might be fair to say.

The band’s sound is seeded in the likes of punk, post-punk, and new wave, but equally has an adventure which embraces everything from 70s glam-rock, prog rock, orchestral music, and anything which catches the band’s imagination, as proven by their AOJ releases and their return as Bobgoblin and acclaimed album Love Lost For Blood Lust. Leaping back to the now and new single Sinistar, Bobgoblin are ready to nudge the broadest spotlight on their sound yet, an aim which if the track seduces the rest like us, cannot fail.

From the first strains of the bulging bassline, Sinistar has ears and attention licking lips; even more rigorously as riffs and vocals add their vivacious energies to the proposal. Hooks and grooves bound up as the song progresses, each adding their dose of infectiousness and irresistible pop toxicity. The best way to describe the song is early XTC meets We Are The Physics, though at any time there is additional flirtation which can spark a hint of bands like Devo, Baddies, Department S, Oingo Boingo, Tonight… Do not mistake this as assuming the song is predictable though, as it romps with a freshness and adventure which sets it firmly in its own spotlight.

The bass of Jannotta especially seduces; it’s grizzled throaty tones a delicious lure within the contagious revelry romping around it. Just as magnetic though are the devilish keys and flavoursome vocals of Litzwire whilst Avsharian simply slaps the skins of the drums and senses into eager submission.

Accompanying the track is Robotron, a similarly catchy and energetic slice of pop devilment which embeds an early Squeeze like mischief in its vibrant body of energy and inescapably infectious sound.

If like us Bobgoblin is only now infecting ears and the passions then just remember better late than never as you lose your lust to Sinistar.

Sinistar is available now @ http://www.bobgoblin.com/music

RingMaster 03/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

6:33 – Deadly Scenes

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Entwining an extensive mix of styles and psyche exploring sounds is a carnival of fun in the hands of the most inventive and accomplished bands but loaded with the uniquely flavoursome imagination that is 6:33, that bold daring becomes pure musical alchemy. The French avant-garde metallers had us hooked with their Giggles, Garlands & Gallows EP of 2012, an introduction to our subsequently feverish ears backed up a year later by their formidable second album The Stench from the Swelling (A True Story), both featuring CinC/Carnival In Coal/ We All Die (Laughing) vocalist Arno Strobl. Now the Paris quintet have turned up the lust with new album Deadly Scenes, a tempest of invention and sheer aural ingenuity which sees the band at its loftiest pinnacle of creativity yet and surely the most exciting incitement in music today.

The Kaotoxin Records released stomp consists of nine tracks romping down dark avenues of psyche igniting drama and heavy, almost vaudeville like creative emprises. It dives into ravenous shadows, through blood strewn scenery, and across the darkest corners of mind and soul, leaving smiles and bruises as a token of its salacious esteem. Like an anarchic tempest of sound grown from the creative sap of Faith No more, Pryapisme, Polkadot Cadaver, and Mr Bungle, the perfectly formed and fluidly sculpted Deadly Scenes is a tapestry of intrigue and unpredictability casting unbridled pleasure. It carries a lyrical derangement and musical maelstrom across every one of its truly individual offerings, each sublimely and voraciously igniting every cell of those drawn into its inventive hex.

The album starts it’s ridiculously compelling spell with the ‘gospel’ of Hellalujah, certainly it starts that way with a richly resounding choir announcing “Lord Jesus!” It is a great wrong-footing coaxing, even for 6:33, which is soon opening up its invention through a building crescendo of flavours which unite in a sturdy footed stride. It is a bedlamic revelry of sound with a show tune essence to its invention, but as is the norm for the band a mere moment in the travel of a song. Bursting into a ruggedly flirtatious and body swerving blaze of swing and melodic rioting, the song is afire with hooks and metallic lures, all courted by the drama of the keys and the show-pop tenacity of voices and similarly inflamed sound.

Ego fandango comes in next, soaring keys and preacher bred samples the bed for the subsequent muscular and antagonistic stroll of the song. In many ways a Mike Patton essence is never 760137674726_TOX043_6-33_Artwork_480x480far from the band’s music, here helping flavour the rampant vocal and inventive swagger flirting with an Oingo Boingo like vivacity and enterprise. Female vocals, as in the first song, provide a magnetic companion to the ever striking and gripping delivery of Rorschach whilst spices of Queen and Five Star Prison Cell bring further strains of sonic colour to the ever evolving terrain of the brilliant encounter.

A tribal and shamanic rhythmic canvas provides the landscape for the following brilliance of The walking fed, its hypnotic bait a constant persuasion as a low key Yello like electro and vocal beckoning lures ears into a sinister weave of progressive metal and funk infused exploration. The dark bass conjuring of S.A.D. works masterfully with the beats to cage the fiery endeavour within their walls but leaves his strongest most potent tempting for the closing stretch of the song where he unveils an addictive steely web as medicine man chants dance with the keys.

The furious intensity of I’m a nerd escapes another choral welcome straight after, its hellacious rage of metal an imposing roar before everything moves into a country kissed pop ramble with 12 Stone Toddler like pop ingenuity and Kontrust spiced mischief. To be honest as with every song, words can only give a hint of the depth and invention of the superbly blended flavours and ideas escaping the heart of the sonic incitement, and even listening in person, further twists only reveal their lures over numerous plays.

Through the theatrical noir of Modus operandi and the psychotic stalking of Black widow, 6:33 continue to paint new provocative pictures of musical drama and virulence, the first a kaleidoscope of again Faith No More ferocity with the worldly rock essences of Les Negresses Vertes, but as expected honed into something mouth-watering and unique to the band. Its successor is a furnace of creative and rhythmic fury sculpted into a virulent dance of sonic mayhem and deliciously cultured harmonic beauty; a Mr Bungle meets Toumaï seduction for want of a better clue. Their brilliance and exhaustive presence is followed by the gentle acoustic caress of Last bullet for a gold rattle, a country seeded night around a crackling campfire evolving into a melodic shuffle of Cajun/Latin sultriness.

The smouldering Lazy boy croons and bawls impressively over the senses next, it’s raging fury and warm lingering seductions a battlefield of gripping unpredictability. The song is as contagious and as vicious as any song you are likely to hear this year, but there will few which fuse the extremes as imperiously as this. Its sensational bellow brings the listener to the epic title track. Deadly scenes has a theatre all of its own as it narrates, soundtracks, and relishes a clutch of dark tales and spoiled souls. Atmospherically pungent and musically deranged, the track as the album blows ears and imagination away, leaving the passions exultant. Imagine every sound and musical spice you would wish in a soundtrack to your day and it will probably be in the enthralling and feet manipulating track.

     Deadly Scenes is another stunning triumph from 6:33. With every release we ask how they will top their new pinnacle but they do as evidenced by this front runner for most exhilarating if not important releases in 2015.

6:33 Deadly Scenes is available via Kaotoxin Records from 12th January as a limited edition (1,000 copies) DigiSleeve, bundled with a free 26-track label sampler, a special cassette version limited to 100 copies @ http://www.kaotoxin.com/product-category/kaotoxin-releases/ and digitally @ http://listen.kaotoxin.com/album/deadly-scenes

http://www.633theband.com/

https://www.facebook.com/6h33official

RingMaster 12/01/2015

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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Salt -The Greenman EP

SALT Gen Pub Photo

With every note and twist of invention soaked in drama and unpredictability, The Greenman EP from New Zealanders Salt provides one of the more fascinating and thrilling encounters of the year. Richly flavoursome and drawing on a vat of varied rock essences, with a just as tasty spicing of new wave and alternative rock, release and sound invite ears and imagination into a mischievous devilry which persuades like a mix of Wall Of Voodoo, Oingo Boingo, and Midnight Oil but with its own unique character. It is an adventure to light ears and thoughts, feet and emotions, and quite mouth-watering.

Formed in the latter part of 2010, Salt consists of vocalist/bassist/songwriter Brett McGuigan, keyboardist Rachael Jane, and guitarist Mike Nelson. The Christchurch trio awoke keen attention for their imaginative sound and presence through debut album Radio Station in 2012, a release also diverse in flavour and with rawer punkish tenacity to its creativity. Recorded with Thom O’Connor, The Greenman finds the band exploring more expansive and inventive pastures but still retaining the energy and vivacity which its predecessor expelled to fine effect.

Going to the Moon opens up the EP, a song which has already been heavily devoured around the internet from its initial unveiling. A sonic coaxing intrigues before making way for a feisty Salt - The Greenman - Album artwork front coverswagger of riffs and spicy keys, all within a punchy web of rhythms. The core temptation is soon completed by the appealing tones of McGuigan and accentuated by the tangy grooves and potent hooks which frequent the contagious encounter. Not quite space rock but with a definite spatial breath to its fluid melodies and inescapable catchiness, the song is a vibrant and captivating start to the EP.

The following Indiana Melancholy has a dour but no less riveting air to its prowl through ears. Slowly making its way across the senses with dramatic textures and expression vocally and musically, the track has the imagination absorbed and then inflamed with its inventive shadows and sonic exploration. Guitars and keys again provide thick colour to a powerful rhythmic canvas whilst extra theatre comes from the mystique fuelled grooves and sultry mix of lead and backing vocals across the band.

The EP’s title track takes over next, instantly bringing eighties new wave and melodic punk flavouring to an invigorating modern rock recipe. Insatiably addictive and fuelled by a slightly repetitive nature, the song swiftly draws an already greedy appetite into its seducing bait, tightening its grip with every anthemic call of vocals and virulence. Its commanding persuasion is matched by the outstanding Mad Situation, a track with a rhythmic enticing and carnivorous bassline to sell your soul for. As the second song, a darker landscape is explored but with an infectious toxicity just as habit forming as anything on the release. An infusion of post punk only adds to the strength and richest of narrative and sound, whilst the melodic poetry of guitars and keys highlight and shine upon the inimitable theatrical dark of the song.

The EP is concluded with the similarly sensational, Crossing the Highway, a creatively tenacious journey entwining wiry grooves around rhythmic sinews as flowing evocative melodies cast by the keys spread their curvaceous charm and seduction. The track is breath-taking, edging the others for best on show though all leave hunger for more and blissful satisfaction in their wake.

Salt is a band destined to steal hearts and spark imaginations, certainly on the evidence of the strikingly impressive and delicious exploits of The Greenman.

The Greenman EP is available now @ http://www.cdbaby.com/cd/salt42

https://www.facebook.com/SaltMusica/

RingMaster 30/11/2014

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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Ocasan – Confessions EP

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Quite simply if there has been a better slab of pop rock than the Confessions EP from UK rockers Ocasan this year than we must have missed something very special as the Buckinghamshire trio has just set a very high bar for the scene. To be fair the band has pretty much matched the quality of this release already in the past twelve months with their two previous EPs, London Town and Whitey Two Step, though Confessions has the edge over both. The third of a trilogy of releases which makes up the band’s second album Elixir, which presumably itself will get an individual release ahead, the EP is a riotous stomp of contagious hook loaded songs which give feet, ears, and emotions a fun filled work out.

Hailing from Milton Keynes, Ocasan formed in 2007 and were swiftly earning attention from fans and the underground media, which in turn led to a wider spotlight, especially with the release of debut album Ricochet in 2011. Live too the band has drawn acclaim and constantly left audiences regaling their performances whilst touring relentlessly across the UK and Europe, as well as taking in Russia, Canada, and festival appearances at the likes of Spirit of Burgas and AmpRocks. The three EPs introducing and making up Elixir sees the band press on the strongest spotlight yet, one to match the open maturity in songwriting and sound soaking them. Confessions is the prize of the lot with its dark tone and seductive shadows, though each EP brings an invigorating and potent aspect to what will surely be a greedily devoured album.

The best way to describe Ocasan’s sound is The Police meets Fall Out Boy and eighties band Jim Jiminee with, in the case of the new EP, a healthy and warped spice of Oingo BoingoLondon Town and Whitey Two Step, t. It is a sound Confessions - Artworkwhich is familiar yet new simultaneously and from opening track Invincible, manna for the ears. An opening bait of rhythms from drummer Luke McDonnell sets ears and attention alert before chunky riffs from Nick Burns and a pulsating bassline laid by Nathan Naidoo go to work on the imagination. Just as quickly stabbing reggae spiced enticement openly seeded in the likes of The Police, flirts as Burns’ vocals impressively unveils the song’s narrative. Sinews and rugged rhythms add to the captivating mix, expelling moments of rigorous intent within the warm stroll of the song. There is also a drama to the track, and ultimately the EP, which arguably has not wrapped the band’s previous encounters, an imposing almost theatrical essence which helps the songs leap out with their inescapable lures.

The impressive start is followed by the similarly flavoursome Dark Cloud, guitars instantly cladding ears in melodic enterprise as equally expressive and vibrant vocals join the transfixing call of the magnetic track. As catchy as anything on the release, there is also a heavier rock tone and underbelly to the excellent encounter which nicely tempers yet compliments the melodic roar of song and vocals. Its success though is soon paled by the outstanding Parasite, one of the songs of the year in our book. From the first bulging note of the addiction forging bassline opening the song, passions are gripped and enslaved. Beats pound masterfully across this irresistible bait too, the central bass hook swinging like a lust fuelled temptress as the guitar sends sonic slithers across its temptation. It is a delicious start which only ignites again as the band’s vocal adds anthemic mischief before Burns like a vaudeville host parades the track’s tale. With more ingenious snags than barbed wire fencing, the song is simply glorious and has voice and body grooving to its tune quicker than Usain Bolt in a tail wind.

The title track brings the EP to a close and returns to the same sultry charm and warm melodic endeavour which started it all off, though through its own individual and riveting design. Easy going and smoothly flavoursome, the song is less inventive than certainly its predecessor but another stylish and virulently infectious proposition to reinforce the potency of the EP and increasingly impressive creative adventure of the band.

Confessions may at times feed more than wrong foot expectations from those well aware of Ocasan, but it also adds to the release’s strength to provide one of 2014’s most enjoyable and exciting rock ‘n’ pop releases.

The Confessions EP is available now @ https://itunes.apple.com/gb/album/confessions-elixir-3-ep/id922878604

http://ocasan.co.uk/

RingMaster 230/09/2014

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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