Lara Smiles – All For You

There are times when you can only expect plaudits and ears to come chasing an encounter and one such moment is surely to surround the release of the debut album from British singer songwriter Lara Smiles. A truly magnetic festival of resourceful sounds and lively imagination, All For You is as rich in its variety and enterprise as it is determined in its aim to get the body bouncing and involved in inhibition losing fun. It is a treat of an introduction which just seems to get more impressive and manipulative by the listen.

With music never far from her ears and passion since a young child, seeds laid by the sounds her parents were playing, Lara has grown to embrace a host of styles and flavours which has nurtured the variety and diversity in her own writing and music. Among a host of major inspirations, the likes of Tina Turner, The Beatles, Paul Simon, Queen, Prodigy, The Strokes, Yeah Yeah Yeahs, Muse, Beth Ditto, Green Day and Middle Eastern music heavily feature yet as her first full-length reveals, they have only gone to spark her own musical individuality. Since emerging she has also become a praise drawing presence on the UK live scene supporting the likes of Pete Doherty and playing some of the biggest festivals, including Glastonbury four times, the Isle of Wight Festival, and The Great Escape as well as also finding herself collaborating with The Orb, guesting on the new Shed Seven album, Instant Pleasures, and singing with The Australian Pink Floyd Show for the past eight years.

Mixed by Jamie Grashion and legendary producers Michael Rendall and Martin Glover aka Youth (Primal Scream, The Orb, Pink Floyd), her self-produced debut album is poised to thrust Lara into the limelight in her own rights. That is our expectations here and every venture through All For You only cements our thoughts.

© Hannah Smiles

Breeding a boisterous and tenacious, often ferocious blend of alternative rock and contagion loaded pop with a just as eager appetite for punk, electro and industrial rock with plenty more besides, the album opens up with the swiftly and increasingly magnetic Coincidence. A spiral of electronic enticement entangles ears first as crisp beats pounce, their combined lure soon reinforced by the hungry riffs of Lara’s guitar. Instantly intrigue and drama lines every emerging tendril turning, it evolving crystalline glamour and beauty as the song breaks into a melodic stroll alongside the seductive tones of Lara. The mercurial edge to the track though continues as its writhes around like a creative dervish, tantalising and fascinating at every turn whilst getting the release off to a tremendous start.

It is an overall inescapable enticement which continues through the following Save Yourself. Bubbling electronics and boisterous guitar align to the darker stroll of Joe Singfield’s bass as the rustle of Sara Leigh’s beats tease before leading the song in its own individual canter. In turn there is a devious urgency and aggressiveness which breaks out as the chorus escapes a calmer build up though that too has a dramatic edge which just sparks the imagination as potently as ears. Lara’s vocals have rich variety which relish her imagination and the equally diverse tapestry of sounds she ventures forth across this track alone it emerging as a compelling slice of punk lined pop ‘n’ roll.

The album’s title track comes next, bounding in on an irresistible incitement of a bassline which continues to manipulate as vocals and melodies dance. Ridiculously infectious and persuasive to hips and vocal chords, the track simply seduced compliance and participation whilst igniting an already firmly placed appetite for the release before Dictate Peace explores a whole new landscape of Eastern spiced teasing and imagination. Its summery stroll and breeze radiates captivation but also the darker shadows and strains of drama which impose their intrigue throughout; it all adding to a riveting invention which sees the listener taken through a web of creative espionage.

And It Hurts follows with its initial gentle elegant charms to the fore. They continue to entice as the fire in the heart and belly of the song smoulders and ignites note by note. With its blaze increased, energy erupts but so too another striking collusion of textures and flavours with the track continuing the great unpredictability of its predecessors and their instinctive contagion.

The folkish grace and melodic beauty of Oh How is pretty much aural intoxication straight after, Lara’s voice intimation carrying seduction and radiance while Disconnected provides a controlled but virulent contagion of pop rock with a compelling blend of spikiness and winning grins to its stomp. In turn, Zombie preys on the senses and body with its emotive irritability and electro funk catchiness. Like all tracks, it soon reveals its individually inventive escapade of unexpected twists which only accelerate its slavery of ears and involvement.

Penultimate song, The Fightings Over, needs mere seconds to have everything robustly involved in its punk ‘n’ rock bred bounce as thoughts align to its lyrical exploration, a tempestuousness in its air and attitude only adding to the incendiary theatre perfectly setting up the contrasting mellow and glowing yet melancholic repose of final track, Turn It Around. The individuality of this pair alone songs epitomises the variety thick All For You as a whole and of Lara’s songwriting which seems so effortlessly to cast real diversity and adventure.

There have been a few releases which have truly inspired and aroused us here this year, a couple this month alone and All For You sits boldly alongside giving real undiluted pleasure. Whether it sees Lara Smiles a household name we will see but it will surely establish her as one of our most exciting and unique talents.

All For You is released September 7th via iTunes and other stores with its album launch show @ the Sebright Arms, London August 30th.

http://www.larasmiles.com/   https://www.facebook.com/larasmilesmusic/   https://twitter.com/LaraSmilesMusic

Pete RingMaster24/08/2018

Copyright RingMaster: MyFreeCopyright

Sonny Green – Grime Is Punk

Art_RingMasterReview

Grime Is Punk is the debut EP from Sonny Green, a young musical poet with a bite to his rap and honesty to his words. With grime bred sounds circling around him whilst carrying their own individual drama, it is a combination which just commands attention.

Aged 21, Green has made a potent introduction with his first EP, but it is just part of an emergence which began seven years ago when he was experimenting with music in his local Connexions youth centre on the Cluny Square estate in Southend. Casting lyrical challenges and insights exploring broad and personal social issues, he made When Words Fail Music Speaks, a 14-track mixtape selling over 10,000 copies which in turn secured Green a weekly residence at the renowned Dalston venue Passing Clouds. At 17, he “ditched his A-Levels and pitched up his tent outside St Paul’s Cathedral, to stand in solidarity with the Occupy movement, ensuring that the voice of his generation was not ignored,” that followed by a performance at The House of Commons where he shared the stage with Fatboy Slim as part of a concert organised in association with Last Night A DJ Saved My Life Charity.

Since then he has supported Asian Dub Foundation, who subsequently recruited him to join them live, played numerous shows across Europe and played support for the likes of Pete Doherty and Section Boyz among many. Released via Hostage Music, Grime Is Punk is the nudge on national attention with Green offering the potential that he could live up to the suggestion that he might become a “voice for the people, a person willing to stand up and speak about the issues surrounding them in the world they live in.”

His EP opens with Fuck Off, an uncompromising proposal in sound and word summed up by its title. Pulsating bass tones and surface splattering beats tempt ears first as fizzy keys bring their own portentous air. It is a low key yet potent canvas from which Green pounces on ears and imagination while inciting thoughts with his scything spits. The dark shadows of the sounds equally line his vocals and a varied delivery as much a highly agreeable essence as the imposing climate of the track.

New single Bars follows the great start, its air and nature immediately lighter but again open in its defiance rich attitude. The repetitive design of the sound surrounding the urban wordsmith, as in all songs, is an addictive nagging with extra spices of adventure to feast on alongside the enjoyable swing of Green’s vocals.

That catchiness is even more gripping in As Above So Below, its underlying almost mischievous melodic tempting colluding with the slim haunting of keys and a throbbing bassline which sizzles as it’s throatily entices. Musically, the track is almost cinematic and vocally a gripping incitement shaped by Green’s virulent delivery whilst its successor, Flashy, is a shimmering and snarling protagonist coming over like a raw mix of Honky and G.R.I.M.

Its compelling persuasion leads to closing track Hustle, a track which bounces on the ear and bringing feet to life as a sultry and exotic hue seduces through synths. The snap of beats is as biting as Green’s syllables and tone, the theatre of the bass just as compelling, and the lyrical shuffle a rousing spark for body and emotion.

It is hard to pick a best track though the closer is always there on the tongue. Fair to say from start to finish Grime Is Punk is a thoroughly enjoyable incitement for ears and thought;  a potent start recording wise from Sonny Green with bigger things easily foreseeable for and from him ahead.

The Grime Is Punk EP is released May 13th via Hostage Music on iTunes.

 https://www.facebook.com/Sonny-Green-aka-SGB-233648870029827   https://twitter.com/SonnyGreenUK

Pete RingMaster 09/05/2016

Copyright RingMaster: MyFreeCopyright

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Yes Sunshine – No No No

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What could be better than a high octane pop song sculpted on a punk bred guitar clang, devilishly anthemic rhythms, and a spicy dose of discord to make your toes curl? On the evidence of No No No, the new single from UK quintet Yes Sunshine not a lot. The song is a virulent stomp, an insatiable temptation which has feet as quickly alert and active as ears. There is a buzz brewing up around the Coventry hailing band and right now easy to see why thanks to No No No.

11082558_766870466741612_8200293885106745004_n     Yes Sunshine began back in the spring of 2013, Michael McCann, Mark Fazakarley, Jord Harrold, Declan McCann, and Chris Feltwell musically uniting to commemorate the passing of a close friend. They were soon hitting and enlivening the local live scene before spreading their sound and performances just as quickly across the UK and Ireland. Their first year alone saw the band playing venues such as The Dublin Castle, The Shed, and a headline show at The 100 Club as well as an appearance at Manchester’s Ethihad Stadium and two packed out shows at The Great Escape Festival. Yes Sunshine has supported the likes of with Pete Doherty, Royal Blood, Zane Lowe, Yuck, The Enemy, and The View along the way too whilst their debut single in 2014 courted the attention of BBC Radio 1, XFM, and Amazing Radio amongst many. The beginning of this year saw the successful release of the single Because of You, a fiery marker for the band which No No No has taken to another level.

The band’s sound is a volatile weave of indie, rock, and punk honed into one rebellious pop roar, and swiftly infecting ears as No No No opens with a jangle of guitar chords before flicking the switch to an agitated, tenaciously lively stroll. The vocals are just as energised and infectious as they jump into the revelry whilst a thick juicy bassline invigorates the already rampant tempting on offer further. It is the discord soaked enterprise of the guitars which is the most compelling component in the song though, acidic noise oozing from every note whilst conjuring a pop romp to get nothing less than fully involved with. Early Strokes has been suggested as a comparison to the band’s sound, we say though add some Asylums and eighties band Fire Engines and you get a bigger hint of No No No.

People are claiming big things for Yes Sunshine and after No No No you will get little disagreement here.

No No No is out now via Mint 400 Records @ https://itun.es/gb/sC076

http://www.yes-sunshine.co.uk   https://www.facebook.com/YesSunshine

RingMaster 26/05/2015

Copyright RingMaster: MyFreeCopyright

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Runaway Orchestra – Self Titled

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Approaching the self-titled album from Runaway Orchestra it would be fair to say eager anticipation was not really in abundance. The thought of a collection of cover songs was not off-putting but certainly did not fire up any real excitement or strong intrigue. The ten track album proceeded to take barely two songs to slap any doubt or lethargy towards it down to the floor and firmly transfixed and mesmerised thoughts from there on in.  Certainly not every track found the same strength of passion towards it as did others but the album as a whole was one shapely and magnetic pleasure equipped with a powerful and lingering lure to re-join it often.

The album is the work of Tam Nightingale who enlisted the sultry tones of solo artist Sophie Madeline to explore and bring sirenesque radiance to the re-imagination of classic songs. Also featuring musicians from The Divine Comedy, UNKLE, and Cinematic Orchestra, the result is a delicious warm stroll through the charms of an aural sun and its seductive warmth.  Released through Mr Bongo, the album brings the melodic beauty of Madeline and the folk caresses of the music in a summers day worth of luxurious luminance, the release basking and offering a full journey of hazy elegance from its vibrant sunrise to its dreamy sunset. It certainly emerged as a real surprise, a mouth-watering treat easily putting those earlier thoughts in shameful exile.

The release opens up with its potency fully unrefined from the start through the stunning tracks Happy Together and Life’s A Gas. The first, a re-working of The Turtles track, is simply irresistible, the song instantly mesmerises with the bewitching voice of Madeline and the stringed emotive kiss securing an immediate ardour upon impact. Opening up its arms to a full orchestral embrace with compelling textures coaxing further rapture, the song is wonderful and overall steals the show despite the mighty efforts of the other tracks. From its magnetic presence the song passes on to the following T-Rex song and yet another irresistible temptation. The acoustic touch of the guitar and as proves to be a permanent pleasure, the heart thrilling vocals, make an invitation impossible to decline before the track expands into another feast of orchestral light and melodic enterprise with vocal harmonies and the throaty bass shadow adding yet more unbridled enticement. Whereas its predecessor for these simple preferences easily outshone the original, this song does not surpass the richness of the Bolan version, but comes so close it is dazzling.

After such a start there had to come a point where the album loosened its grip but with next up For Lovers the time was not ready, the striking and thrilling cover of the Wolfman and Pete Doherty 2004 hit injecting an energy and vivacity into the tune without losing the originals emotive depths. Within three songs the release shows artists who do even singular covers how to make songs engrained in the heart of the world their own with craft and imagination without losing the seed and core which gave them their stature in the first place.

Tracks like the take on Bob Dylan’s If Not For You and the Lisa Lougheed/ Racoons theme song Run With Us do slip below the immense plateau already reached though both still leave a full pleasure especially with the ukulele craft of Madeline in the second of the two, whilst splitting the pair is a great version of It’s A Beautiful Day, another senses grasping wash of melodic grandeur with a restrained heat but wholly seductive charm from voice and sound.

The next major highlight comes with a storming cover of The Beat Goes On, the band turning the Sonny and Cher song into a hypnotic alchemy of primal beats and angelic glamour, its melodic reserve and celestial harmonies eager conspirators with the pulsating heart of the track to total submission of the passions. It is stripped down mastery elevated into something more powerful and impacting through imagination bred craft soaked in whispers of longing.

The final trio of songs do not quite live up to what came before though again it is just the brilliance of the likes of the just mentioned track which confines their appeal rather than any shortcomings. Nevertheless songs like Daniel Johnston’s True Love Will Find You In The End and the closing Two Of Us with a full dual vocal presence for the first time only ensure the album ends on a satisfying high.

If you have any doubts about Runaway Orchestra project or album allow us to say dismiss them and enjoy one impressive musical attraction.

8/10

www.facebook.com/RunawayOrchestra

RingMaster 15/04/2013

Copyright RingMaster: MyFreeCopyright

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