Shameless captivation within the RingMaster Parade…

Continuing to tease and light up our ears Shameless PR have sent over another collection of tracks to take a reviewing lick at and we present to you the most compelling of the bunch.

My Nature is a compelling blend of sinister seduction and menacing atmospheric intimation; it is also the latest single from Atlanta-based indie pop duo I Am a Rocketship and the lead track off of their fascinating new album Ghost Stories. It is a song which creeps into the psyche whilst manipulating the body with its infectious grooves and one which suggests indeed demands that the band’s bigger offering should be explored.

I Am a Rocketship unites the craft and imaginations of multi-instrumentalist Eric Weissinger and vocalist/cellist L E Kippner of Swedish synth-pop duo Neobox. From a chance meeting the pair formed Hitchcock Blondes before relocating to Atlanta and creating I Am a Rocketship. Their sound is a kaleidoscope of flavours woven into indie pop bred adventures but songs unafraid to venture through shadows and experimentation embracing electronica and rock instincts among other flavours.

My Nature is a perfect yet individual example of their imagination and the new album, the song immediately haunting ears through Kippner’s captivating tones which are quickly stalked by dark nasally guitar grooves. The riveting just as tenebrific bassline and the teasing touch of keys only add to the evolving temptation with lays across magnetic rhythms; it all proving pure captivation in swift time with its creative flirtation reeking danger and fascination as the song lights the way to easily imagining further rich adventures within Ghost Stories.

Similarly and equally potent in experimentation is the new single from legendary producer Martin Bisi. A fascinating slice of Avant rock, Let It Fall is a dense and compelling encounter bred on unpredictability and relishing the myriad of flavours and styles which inspire that wonderfully erratic but skilfully crafted landscape of ideation.

The track is taken from Solstice, the first solo record in five years from Bisi and his sixth such album within a career working with the eclectic likes of Brian Eno, Bill Laswell, Sonic Youth, Swans, John Zorn, Herbie Hancock, Helmet, Africa Bambaataa, Dresden Dolls, Unsane, Cop Shoot Cop, Human Impact and countless others.

Let It Fall barely shares a single breath before the richness and thickness of its mercurial instincts and sound is apparent and enthralling ears. It is not easy to fully suggest the character and voice of the song but it is one bound in the keen essences of rock, jazz, noise, classical, and art rock and more besides. It too is a fusion of menace, disturbance and contagion; haunting the senses and inspiring the imagination whilst savouring the soprano vocals of Amanda White and Genevieve Fernworthy’s electric viola alongside the baritone guitar of Diego Ferri, the dictating rhythms of Oliver Rivera-Drew and Bisi’s alluring touch in vocals and guitar. Let It Fall was soon a track impossible to ignore; one also urging an appetite to explore its main source.

Contrasting the darker hues of the previous two is the new single from San Francisco electronic outfit Nikavo. Yummy Miami is a warm and inviting piece of electronic infection with its techno nurtured pop and catchy disco bred instincts to the fore though it too offers a sound lined with an adventure and dare we say eccentricity akin to that found within the songs already covered.

Nikavo is a musical union of producers Philip Winiger and Alexey Laduda; a pair whose respective informative musical years, the former embracing a love of the German electronic music scene and being part of industrial/ EBM outfit INHALT and the latter growing up “in the rigid, yet highly creative, post-Soviet space, playing the guitar and singing”, has found a uniting passion for dance music and analogue audio synthesis. It has resulted in a project and sound which has a broad smile to its presence and an almost mischievous instinct to experiment and explore.

Yummy Miami simply hugs the senses with its fun and lively spirit, sparking a dance in the step as it strolls through a melodic breeze. Equally vocals and synths are pure infectiousness matched in persuasion by the rousing skip of rhythms and the heated wiring of guitars. That mentioned irregularity in sound is maybe not as apparent here but certainly at enthralling strength within the single’s B-side, No TV; a track bred through a more darkwave/industrial leaning and no less absorbing.

As the band celebrate the 30-year anniversary of their highly acclaimed debut album, Sweden’s celebrated 90s indie rock darlings Easy unveil new album Radical Innocence soon and comes preceded by a couple of melodic flames posing as singles to draw ears like moths.

Since the release of that first full-length, Magic Seed, Easy has frequently toured Britain and Europe and released a host of acclaim luring records; the previous two as their new offering via A Turntable Friend Records. It is a career interrupted by the band suddenly disbanding in 1994 as members explored other projects but since returning in 2010, with the original line-up of Johan Holmlund (vocals), Rikard Jormin (bass), Tommy Dannefjord (drums), Tommy Ericson and Anders Peterson (guitars), the band has found an ever greater potency in their sound and writing.

The singles, Crystal Wave and the just come out Day For Night, present the melodic jangles and lively textures which make up the band’s sound and new album, the first an animated stroll bound in warm keys, infectious hooks, and a catchy almost eighties pop nurtured breath which swiftly got under the skin. Its successor equally had attention quickly hooked, its rhythmic lure irresistible and a persistent lure into the emotive embrace and infectious enterprise waiting to further tempt. Both tracks remind a little of The Mighty Lemon Drops which does neither any harm, both firmly stamp their individuality on eager ears.

With their new album, Coniphers, scheduled for release May 22nd, US rockers Lazaris Pit uncage their new single You Don’t Tag Me In Memes Anymore to also provide a ripe teaser to whet the appetite. The track is a boisterous slice of funk dipped indie rock with an almost rebellious lining of punk rock, the kind of song which inspires a want to know and hear more.

The Raleigh-based outfit formed in 2017 and consists of Ely “Salted Sweet Cream” Yarbrough (guitar and lead vocals), Cameron “Sugarfoot” Preston (bass) and Jon “Dok Tok” Castro (drums and backing vocals). As we suggested their sound is a mix of varied flavours which at certain times also employs essences of funk, soul, psychedelia, reggae, jazz, noise, and ambience in songs as individual to another as you can imagine, a trait epitomised by the feral exploits of Cloudsculpting, the B-side to You Don’t Tag Me In Memes Anymore, and a song with a Everclear breath to its volatile and mercurial reggae and pop punk saunter.

The A-side entices a bit of blues guitar flaming to its rock ‘n’ roll, a poppier rock and that punk instinct uniting in a tenacious and rousing stroll. It also has a great garage rock like rawness to its breath which only increases the magnetism; You Don’t Tag Me In Memes Anymore leaving a lasting mark on ears and intrigue for the upcoming Coniphers.

Another artist entrapping attention with a couple of singles before a larger temptation is Rome-based electro indie pop project Ender Bender. May 1st sees the EQ EP released and providing bold lures for its release are the singles Star Killer and Honey Lavender Girl.

Ender Bender is the solo project of Eddie Olguin, a multi-instrumentalist producer now based in Rome having relocated from LA in a “life-changing move”; a move saving him from self destruction and inspiration to the themes within the EQ EP.

Star Killer swiftly shows itself as a spirited and positive slice of electro rock, every move it makes an eagerly catchy incitement and each melody an invasive contagion drawing out the inner swing in us all. With the spellbinding backing vocals of Roberta Ovatta just as winning as the sounds surrounding them, the song infested ears and body with ease; success replicated by Honey Lavender Girl as it embraced a more indie pop identity. Again Ovatta and Olguin vocally unite with charm and enterprise as guitars and keys weave a fresh side to the Ender Bender sound.

Both songs only lead to one thought, to dance with the EQ EP, job done.

Finally we have new temptations from Beauty in Chaos, the creative project of guitarist Michael Ciravolo (Human Drama, Michael Aston’s Gene Loves Jezebel) which sees him link up with a rich host of musicians song by song. With new album, The Storm Before The Calm, due May 22nd via LA-based label 33.3 Music Collective, a trio of singles have raised the keenest of anticipation of its release.

Following The Delicate Balance of All Things which featured The Mission frontman Wayne Hussey, Beauty in Chaos set free the Curse Mackey (Pigface, My Life With The Thrill Kill Kult, Evil Mothers) guesting A Kind Cruelty recently and is now followed by Almost Pure which finds Steven Seibold (Hate Dept., Pigface) alongside Ciravolo.

A Kind Cruelty rises up on a sonic breeze, bass and guitar conjuring rich intimation as the song grows and expands its intrigue. Hitting its full stride, melodies entice and hooks tease, a resonating bassline enslaving at the core. The track quickly proved a thick slab of magnetic melodic rock, every moment capturing the imagination just as its darker shadows and the vocal prowess of Mackey and indeed just as ably as its successor as a single, Almost Pure. Gothic light immediately soaks ears as the song unveils its presence, an eighties dark rock scent escalating the tempting quickly at play; indeed there is a touch of The Mission to the track at times which only thickened that potency.

Both songs epitomise the diversity and imagination which fuelled previous album Finding Beauty in Chaos and we now expect to breed rich adventures within the forthcoming The Storm Before The Calm.

 

Ghost Stories is now available everywhere digitally, including Spotify, as well as on CD, via the band’s own My Long Wknd imprint. It can be ordered directly from the artist via https://iamarocketship.bandcamp.com/.

Martin Bisi’s Let It Fall is out via Bronson Recordings as too the album Solstice; available digitally across key online stores and online streaming platforms, including Spotify and Apple Music.

Yummy Miami from Nikavo is out now.

The Easy singles are available now with Radical Innocence released through A Turntable Friend Records on 1st May.

Lazaris Pit has You Don’t Tag Me in Memes Anymore available everywhere digitally, including Spotify and Apple Music now with the Coniphers album out on May 22nd.

As of May 1st, the EQ EP will be available across online stores and streaming platforms, including Spotify and Bandcamp.

The Storm Before The Calm will be released on CD and digitally on May 22nd with a later release date to be announced for the vinyl editions. These include a 180g vinyl (including a black numbered limited edition and a black & blue duo-tone). Pre-orders come with an immediate download of A Kind Cruelty and the full digital release on May 22nd includes a 25+ minute title opus that does not appear on the vinyl version. The Storm Before The Calm can be ordered here. https://www.beautyinchaosmusic.com/music-store

 

https://iamarocketship.com   https://twitter.com/Iamarocketship1  https://www.facebook.com/iamarocketship/

http://martinbisi.com/   https://www.facebook.com/Martin-Bisi-10025408974   https://twitter.com/martinbisi

https://www.facebook.com/Nikavo-279477962909519  https://nikavo.bandcamp.com/

http://www.easy-magicseeds.se/   https://www.facebook.com/SwedishindiebandEasy/   https://easy-sweden.bandcamp.com/

https://www.lazarispit.com/   https://www.facebook.com/LazarisPit/   https://twitter.com/themLPboys

https://lazarispit.bandcamp.com/

http://www.enderbender.com/   https://www.facebook.com/enderbendersonicdrug/   https://twitter.com/iamEnderBender

https://www.beautyinchaosmusic.com/   https://www.facebook.com/beautyinchaosmusic/   https://twitter.com/MichaelCiravolo   https://beautyinchaos.bandcamp.com/

Pete RingMaster 02/05/2020

Copyright RingMasterReview: MyFreeCopyright

dragSTER – Dead Punk

Photo by Uglypunk —

Photo by Uglypunk

 

Not sure about you but the quality of British punk rock right now is inspiring tingles not that far removed from those felt when its first generation of sounds and bands were in their heyday. This is all down to bands like Coventry quintet dragSTER and ridiculously exhilarating releases like Dead Punk. Rampaging with thirteen riots of hostile punk ‘n’ roll, the band’s third album is a tempest of feet inflaming, passions rousing ferocity with a strength of invention and virulence to match. There has been some extraordinary rock ‘n’ roll storms in recent times but few can be said to have come close to the fire and flare of Dead Punk.

Formed in 2006, the Coventry hailing dragSTER built, on a love of 50’s iconography, sci-fi and B movie horror, and ‘dirty, fast and energetic music’, their own punk turbulence which was soon stirring up a nest of attention with its voracious energy and aggressively forceful sounds as pungently evidenced on the Rat Scabies produced Trailer Trash EP. Extremely well and greedily received by fans and media alike, the band reinforced their emergence with first album Step Into The Deathray in 2007. It was swiftly devoured upon release whilst subsequent shows with the likes of The Damned, The Buzzcocks, Sham 69, Eighties Matchbox and Electric Frankenstein only enhanced and increased their reputation before second album Here Come The Meat Robots in 2010 had its impressive say. Released as Dead Punk on STP Records, the release marked out the band as one of the most exciting prospects in UK and European rock ‘n’ roll. Featuring ex and current members of bands like UK Subs, Texas Terri Bomb, Criminal Class, and Pigface, dragSTER has pushed on again in both songwriting and sound to now uncage one of the modern punk classics.

A slither of an intro leads ears into the opening fury of Gatecrasher Hostage as Dead Punk begins consuming ears. The song is an instant roar, expelling abrasing riffs and thumping rhythms around the fiery confrontational tones of vocalist Fi Dragster. Ears and appetite are immediately seduced by the onslaught, especially as potent hooks and spicy grooves add their bait to the straight forward but already juicy sound. The machine gun bursts of beats from drummer Ryan Murphy only inflame the intensity and addictiveness of the encounter, leading the listener into a predacious web of dark temptation from guitarists Diesel and Ben Kelly, the latter following up with a short toxic solo of magnetic enterprise. It is a delicious bellow of a song and entrance by the album, a triumph straight away surpassed by its title track.

Dead Punk is, as all tracks to be honest, an addiction forging anthem of belligerence and cantankerous endeavour bound in grooves and hooks to lose inhibitions over. With nostrils flared and dragdradramuscles giving ears a thorough going over, the track compounds its might with a chorus even the deaf and deceased would be drawn to engage in. There is no escaping the slavery of the song, a potency grabbed by Drink You Pretty next and twisted into a new furnace of tangy grooves and chorus placed vocal roars. The song growls and rages with a raw infectiousness and diversely flavoured enterprise, squalling like a mix of X-Ray Spex and Midnight Mob with a healthy dose of  Distillers added. Also repeating and increasing its prowess and bait is the bass of Tom AK, the throaty and at times grizzled tones conjured bringing a perpetual primal lure to this and surrounding tracks, bait again is impossible to resist.

Through the broader dirt clad hard rock spicing of Cattle Prod, band and album keep the variety and thick attraction of the album blazing before Evil Craze provides another massive thrill with its balls to the wall punk rock savagery quipped with another seriously habitual roar of a chorus. The protagonist bursts from the speakers with an almost physical and certainly visceral presence, Fi raging over it like a Queen of attitude and defiance whilst vocally and musically the band beside her unleashes their individual and creative furies to equal intensity and glory.

Such its magnificence, there is an instant fear or feeling that maybe the next track has a mountain to climb to impress but that is soon dismissed by the rampant fifties seeded rock ‘n’ roll of The Dead Are Out In Droves. Garage and old school punk meets horror punk with metal bred venom for company; the track casts its own unique anthem of quarrelsome and addict making sounds, passing on the same challenge to compete to Terminal Loser. Opening with a Generation X like lure of guitar courted by a demonic bass temptation, the song is soon rumbling and grumbled with every note and swiping beat. That antagonistic intent is matched by the fearsome and ever captivating Fi as she opens up the pop tainted heart of the song. A Spinnerette whisper adds to the rigorously seduction at work whilst the guitars scowl and tempt with a canvas of vicious and riveting endeavour which ensures that the track easily matches the potency of the previous storms.

The furiously caustic sounds of Just Wanna Fuck provides one minute of unbridled punk lust next before Liar Like That stamps its raucous authority on ears and emotions with a volatile union of vocals for the chorus the final key in the corrosive passions chaining encounter. Both leaves ears exhausted and spark a serious greed for more, a want and need fed copiously by firstly the Misfits stroked raging of Death By A Thousand Cuts and straight after by the stalking temperament of Indonesian Buzz Cut. The first of the two seizes ears with a raw wind of riffs and bass grievances splintered by the crippling swings of Murphy whilst the second, from a prowling gait of an entrance is soon a viper’s nest of incendiary rhythms, stabbing riffs, and vocal incitement. The pair also come with their own breed of contagion posing as choruses and a lack of thought of using their toxic hooks and inflammatory grooves sparingly.

The refreshing melodic and mellower tones of Fight Fire With Gasoline infuse more new spicery to the album, though that is not to suggest it lacks the same unforgiving attitude in sound and voice as any other proposition with Dead Punk. Thoughts of Penetration come to the fore as the fascinating encounter croons and blazes within its inventive presence before leaving final track Skull Ring to bring it all to a highly satisfying end. The closer is a dark protagonist openly sculpted from the gene pool of seventies punk, The Adverts a suggested spicing, and a bracing and ravenous bruising of unfriendly and irresistible rock ‘n’ roll impressively completing an outstanding provocateur of a release.

Dead Punk is not only one of the finest if not best punk release of recent times but stands on the front line of any emotionally and energetically charged slab of rock ‘n’ roll heard over the past twelve months or so.

Dead Punk is available via STP Records now on CD @ http://www.stprecords.co.uk/page4.htmn and digitally @

www.dragsteruk.com

RingMaster 16/01/2015

Copyright RingMaster: MyFreeCopyright

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