Sheafs – Vox Pop

With rebellion in its heart and every senses trespassing riff that it unleashes, Vox Pop is the debut EP from UK outfit Sheafs and we suggest one of the most rousing and truly exciting encounters you will be likely to come across this year.

Formed in 2015, Sheffield hailing Sheafs has certainly teased and tempted attention with their songs and live presence which has seen them support the likes of The Amazons, The Coral, IDLES, and Greta Van Fleet but they have now made a full-blooded demand on scrutiny and recognition with Vox Pop which surely will prove impossible for the masses to ignore. Produced by Dead Nature/Spring King talent Tarek Musa and Jonathan Hucks, the EP pounces on ears from its first breath, its indie rock/pop punk nurtured sounds insatiable in their aggressive virulence and defiant condemnation loaded words “confronting the frustrations of a consumerist world that profits from people’s low self-esteem and self-doubt” a potent incitement.

Thinking Out Loud bursts from EP and speakers first, the track rhythmically pounding out an invitation to which guitars add rich impetus with their inviting grooves. Once a thick bassline joins the enticement, the song was in full control of attention, vocalist Lawrence Feenstra completing the fertile lure with a delivery as striking as the hooks which litter the already irresistible song. The guitars of Chris Goodacre and Charles Mellor spring a web of riffs and melodic wiring, clarity and fuzziness aligning within its irrepressible trap. The song is superb, addiction spilled with every note and syllable as the band’s already proving individual sound leapt upon ears and appetite.

As reinforced by next up World Is Falling Apart, the distinctiveness of Sheafs‘ sound is inescapable though there is something of an Asylums meets Baddies breath to it at times. The EP’s second track shows more restraint in its energy though every aspect is a boisterous incitement from its intoxicating groove to the rhythmic shuffle cast by the bass of Callum Wright and Charlie Eastap’s beats. A psych rock spice wraps each melody and seeps into every atmospheric intimation bred in the open imagination of the quintet as again inherent infectiousness fuels every intensity soaked moment uncaged before the band’s new single Total Vanity erupts. Straight away rhythms and riffs seize the moment, each pounding out audacious virulence incitement as Feenstra’s tones and words spring their own inimitable motivation upon ears and thoughts. The track is raucous splendour, a slice of fearless irresistibility sure to lead fresh hordes to the mutiny of Sheafs.

Shopping equally gripped from its first call, a post punk nagging at the heart of another unapologetically virulent tempting. As with all tracks there is a delicious tempestuousness which boils up in varying degrees but always adds riveting drama and energy to the contagion of in this case consumer exploitation.

With the just as magnificent Care Less bringing the EP to a close, the incendiary track an insatiable infestation of punk bred, dissent soaked rock ‘n’ roll, Vox Pop is an explosion of sound which certainly stopped us in our tracks. New music consistently grabs attention and excites but few things spark real anticipation of major things ahead; Sheafs and their full introduction is one of those rare moments so are you ready?

Vox Pop is out now via Blood Records.

https://www.sheafs.co.uk/   https://www.facebook.com/sheafsband   https://twitter.com/sheafsband

Pete RingMaster 13/03/2020

Copyright RingMasterReview: MyFreeCopyright

Andreas and the Wolf – Fountain Of Truth

As DJ’s for the past two years or so, through their radio show Andreas and the Wolf has fed ears a rich diet of the very best DIY escapades within and outside of the Perfect Pop Co-Op family. Before and during that time they have also teased and excited with a collection of their own tracks; alternative electronica bred songs which have caught and inflamed the imagination into its own shenanigans. Now a highly anticipated debut album is poised to present the band’s full body of enterprise and an apologetically compelling piece of mischievous magnetism it is too.

Andreas and the Wolf is the creation and coming together of Andreas Vanderbraindrain (A.K.A Dermot Illogical of Reverse Family but maybe better known as frontman of The Tuesday Club) and Johnny V (The Scratch/The Tuesday Club). As mentioned their long time partnership has been more concentrated on their fine Andreas and the Wolf podcast and the Perfect Pop Co-Op label in recent times but as Fountain Of Truth proves that time has also seen their musical adventure together equally flourish.

From its first breath there is a healthy mix of nostalgia and bold uniqueness about the album’s sound. It is an enticement which is teasingly difficult to pin down but let us give a possible hint by saying the imagining of a fusion of Television Personalities, Subway Sect, and Fad Gadget with maybe the garage instincts of The Clean for further spicing gives a taste of what delights Fountain Of Truth shares.

All I Want is You sets the album off in beguiling style, its uncomplicated yet richly woven electro pop serenade swift captivation. Guitar and synth embrace their melodic hearts around the inimitable tones of Andreas, sleight but fertile hooks adding to the lure of sentiment part romantic yet just a bit patronising.

It is a potent start to the release which is quickly backed and eclipsed by The Public Domain. As rhythms offer their invitation a masterful bassline strides forward and fair to say from thereon in we were hooked. Its flirtatious swing is quickly straddled by Andreas’ just as tempting vocals, the fuzzy breath of guitar wrapped in the similarly teasing arms of keys. Everything about the song proved virulent, hips and appetite dancing to its punk lined devilry before Morbid Fascination unveiled its British Electric Foundation meets early Human League like shuffle. As suggested earlier though, it is one of a set of infection loaded songs which rises with individual character and a true uniqueness of sound.

Similarly each track offers up something different to that before within their echoes of shadows which crowd our lives, a lyrical theme and creative trait continuing with the synth pop contagion that is Spiral. With a musical grin carried by every note, the song lit up ears and spirit, its eighties inspired instincts a vocal temptation upon electronic nagging and off-kilter imagination. Familiarity and true freshness unite in its viral exploits and aberrant imagination, instincts which mark the album as a whole in varying but always present richness as Fashion Wheel proves with its Paul Haig-esque saunter. It is a song teasing glamour and grandness but always holds its reserve and control to only increase its allure and tension before eager attention.

Through the anomalous pop of the irresistible Friction Free Zone and the haunting tenebrous seduction of its title track, Fountain Of Truth only escalated its grip on ears and pleasure, both songs rivetingly adding further momentous peaks to its landscape with the latter built around another bassline which had the juices lustily flowing, while immediately after Dead Pan Delivery Man had limbs and hips swinging with its indie jangle meets electro pop punk contagion to leave another indelible mark on the imagination.

Limited Ambition brings the album to a close, the track an electro dub loaded stroll with its own atypical disposition though one which may have its seeds sown in a Swell Maps meets The Members bedding. It is a fascinating indeed hypnotic end to an album which has only festered in the passions and imagination for greater pleasure and personal indulgence by the play.

Whether through their radio shows or the rather wonderful Fountain of Truth, Andreas and The Wolf are here to light up our lives and with their first album they do that and more.

Fountain of Truth is released October 9th via Perfect Pop Co-Op.

Check out the Andreas and the Wolf radio shows @ https://www.mixcloud.com/perfectpopcoop/

https://andreasandthewolf.co.uk/   https://twitter.com/andreasandtwolf

Pete RingMaster 13/03/2020

Copyright RingMasterReview: MyFreeCopyright

Scant Regard – You Know The Drill

Pic Dave Cox

If its predecessor, Skipping Over Damaged Area, was an exploration and echo of the “apocalyptic destruction and devolution of the planet we live on”, then You Know The Drill is the bold new adventure in its escape; a sci-fi toned tapestry of intrigue and contagion wrapped in sounds which just infiltrate and enliven the body and imagination.

You Know The Drill is the new creative exploit from Scant Regard, the solo project of Will Crewdson; guitarist/musician/songwriter previously acclaim notorious for his work with Rachel Stamp, Adam Ant, The Selecter, Johnette Napolitano, Bow Wow Wow, and Flesh for Lulu as well as currently one half of the equally irresistible She Made Me Do It. It is an encounter which still sows its seeds in the decay and destruction of the modern world but within its body ventures into the hope and relief brought through space lit, sci-fi cultured escapades. Crewdson’s previous offering, the deviously magnetic Skipping Over Damaged Area, felt like the corruption of hope and light by a creeping darkness. You Know The Drill is the reverse in many ways, bringing light and respite to the sunless breath of the world; both encounters casting trips of sonic poetry and rich intimation drenched in uncompromising infectiousness.

 You Know The Drill opens up with Ulterior Motives, electronic pulsing instantly nagging on ears and attention before rhythms collude to pitch immediate contagion upon the senses. In swift time Crewdson’s vocals join the hungry enterprise, the knowing deception of the song’s sarcasm springing greater catchiness by the second before saving its thickest dose of virulence for the delicious throaty bass led groove which breaks out.

The album’s title track follows, blues liquor fuelling its opening flames before a surf kissed breeze courts the controlled but pungent rhythms at its core. As the opener sprung a lure of descriptive intimation in its sound alone so its instrumental successor weaves an even more stirring sonic tale of drama and suggestion to play with before No More follows suit with its shadow wrapped stroll into ears and thoughts. Again every hook carries creative revelation for the imagination to conjure with; the track nurtured in the same suggestive espionage and danger which marked the best themes tunes of sixties and seventies TV shows such as UFO, Space: 1999, The Avengers or The Prisoner.

Its dark temptation is followed by the thickly enticing lures of Projectile Comet, bait which erupts in another of those riveting hooks and grooves which Crewdson has proven so irresistible and diabolical with across the years. The intergalactic hue of the track brings threat and adventure, the concussive rhythms at its heart chased by voracious riffs and intoxicating grooves in a mix which hungrily got under the skin, an infiltration being quickly replicated by the post punk incident that is the outstanding Calamity’s Creation. Bass and guitar unite to project an instant infiltration of theatre and seduction, vocals riding the groove wired hook lined incitement with matching lust bugging enterprise. There is something of The Monochrome Set to the track at times, the scent of Lester Square creative prowess aligning to the inimitable craft and imagination of Crewdson as another momentous moment within the album is cast.

The swarthy southern hues of Nevertheless bring another hug of instrumental suggestion straight after, ears and thoughts united in their swift embrace while both A Process of Illumination and Charmed I’m Sure share thick fascination with their respective electronic web of insinuation and industrial rock incitement, the latter a piece as aggressively imposing as it is mentally manipulating.

Rogue Prototype similarly draws on industrial instincts, its cyber hull the host for pop tempting and dark post punk menace. The track proved pure fascination in its breath and imputation, suspicion and drama soaking every note boiling and erupting in its tempestuous body before leaving Heart Torn Blood Ratio to bring the gripping release to a close. Melancholic beauty and solemn radiance coat every second of the brooding serenade as darker heavier throes of enterprise rumble in its depths; the track an enthralling end to an album which danced with the imagination and provoked eager attention from start to finish with rich pleasure the outcome.

Look up the definition of fascination and you find the likes of captivation, attraction, intrigue, magnetism and obsession as similar meanings and all thickly apply to the also gloriously art wrapped You Know The Drill, Scant Regard’s greatest moment yet.

You Know The Drill is out now digitally and on blue vinyl effect CD @ https://scantregard.com/store and https://scantregard.bandcamp.com/album/you-know-the-drill

http://www.scantregard.com   https://www.facebook.com/scantregardpage   https://twitter.com/scantregard   https://www.youtube.com/user/willcrewdson

Pete RingMaster 29/02/2020

Copyright RingMasterReview: MyFreeCopyright

Attrition Interview

Can you first introduce the band and give us some background to how it all started?

I started ATTRITION way back in late 1980… I’d been running my punk/post punk fanzine “Alternative Sounds” here in Coventry from ’79 – ’81 and I knew I always needed to make my own music… it began with me and my then girlfriend Julia… added a drummer and my brother on guitar… soon changing to Julia’s brother Ashley on synth and I bought a drum machine…so we quickly turned from a traditional guitar/bass/drums/ vocals line up to a more electronic sound…

Have you been involved in other bands before?

I had always been a visual artist (painter/sculptor at art school) and knew nothing of writing music… so this was my jump in the deep end… see what came out of it… we just experimented with our sound over the first few years in particular…. But still do from time to time…

What inspired the band name?

It came from “War of ATTRITION” … after the first world war…I’d always been fascinated with it as my Grandad was wounded on the Western Front at Ypres in 1917…. And I had always heard about it as I grew up…. in 2015 I finally wrote an album of interpretations of WW1 poems, from all sides….”Millions of The Mouthless Dead” – something I always had to do… I wrote it with Anni Hogan (Marc and the Mambas etc.) and was happy to have a special guest reading in German from Wolfgang Flur on there (ex Kraftwerk)

Was there any specific idea behind the forming of the project itself and how you wanted it represent your thoughts and emerging your sounds?

A burning desire to say something…. There was too much going on I really needed that outlet…. I still do

…and that desire still leads the way?

A lot is the same… we can never recover our naivety and things have obviously got more professional over time…. And maybe I’m not the angry young man I was in 1980…but yeah… not so very different J

Since your early days, how would you say your sound has evolved?

I’ve always used technology a lot…it’s my instrument…I never learned a traditional one… and that has evolved massively over time… and that has made a difference to the sound. I’ve also taken on more musical influences… dance, classical etc… and have met so many amazing musicians over the years that have come on-board… added their talents… moved on…. It’s been an evolving project… which is how I like it..

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

A mix of both… I never know what I will come out with when I start a track…and I like to see where the twists and turns lead me… there are no real rules…. But I have written soundtrack scores so that is a different approach from the outset… and in instrumentation there have been times I wanted to try working with someone new.. .for example when I introduced real violin and viola and cellos on some songs… the old samples hardly got used again…. I think that experiment worked pretty well

Presumably across your years being involved in music there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

Well ATTRITION is mostly me… but I take on influences from people I have worked with…and that is often as much an approach as it is the style… I love learning…. If I ever thought I wasn’t doing that any more then it would be time to stop..

Is there a process to the songwriting which generally guides the birth of songs?

In all of my work… regardless of the final piece or style… I start with abstract atmospherics… electronics usually… and gradually rhythms and melodies emerge… alongside the words if there are to be any…. Much like order from chaos…. I believe in that

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

From my personal life… philosophical and religious thought… political ideas… “sex, death and religion” as some would say..

Would you give us some background to your latest release?

The new single, ‘The Great Derailer’ , has just been released (on CD, download and streaming) and will be part of the forthcoming album, ‘The Black Maria’…much of my lyrical work is inspired by my subconscious thought…. And in a simple way “The Great Derailer” is my anarchist God…if you like…. I released it on Brexit day J

Do you go into the studio with songs pretty much in their final state or still provide room for them to develop as you record?

Since I put my own studio together in the nineties, The Cage, I work all the time on pieces of music and they gradually develop into an album… (and this is between my mastering and production work for many other bands and labels… so I never get enough time for me!…. but it is my day job so I am always surrounded by music…. And I love that) …but yes in the early days of the eighties we had very limited studio time paid for by the various record labels and we had to have everything pretty much ready to put down for the time we were in there…. Not always a bad thing actually…we learned a lot from that!

Tell us about the live side to the band, presumably a favourite aspect of the band?

I do love recording as much as live but yes touring is such an inspiration… I have a varying line up as I work with people all over the world, and I’ve been lucky to have toured on most continents at various points in my career… a wonderful experience… apart from my 2 beautiful kids I would say a highlight of my life…

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How did you find it back in the day and see it now?

Coventry had a great live scene when I started… after the buzz of two Tone but as much for all the other acts… personally my experimental electronics was a bit too much for the local scene back then… so we moved away to London and later I moved to Holland for a while where there a much more receptive scene…. I’ve been back in Coventry for years and I’m pleased to see it really picking up for live music, especially music with more of an edge… I think it’s true everywhere… it’s such a big thing to do making a band work… and it’s hard… but it’s so worth it if you can dedicate yourself to it

How has the internet and social media impacted on the project to date? Do you see it as  a necessary ‘evil’?

The internet in all its forms has been really helpful… having started with the fanzine I was always used to networking myself and the internet is such an opportunity for that…I can’t even imagine how I arranged tours in Europe in the eighties before email…. But maybe the reason I am still here is because I did… It’s never been easy…it never should be.

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

…and thank you very much too. As I said, the new album will be out later in the year… and I am currently setting up dates for 2020… So far confirmed…

April 3rd: The Tin, Coventry, UK

June 13th: Woodgothic Festival, Sao Thome Das Letras, Brazil

June 17th – Gothic Ba, Buenos Aires, Argentina

June 19th – Producciones Mortem Collec-tions, Santiago de Chile

June 20th – Tumbas Eternas Producciones, Lima, Perú November

28th: Winter Ghosts Symposium, Whitby, UK

…and do check out our various sites…

http://www.attrition.co.uk/   https://www.facebook.com/ATTRITIONMUSIC   https://attritionuk.bandcamp.com/   https://www.youtube.com/user/attrition   https://twitter.com/attritionuk   https://open.spotify.com/artist/5yAtVvdaWrTxW4GPC18643   http://www.thecagestudios.co.uk/

Thank you! Martin Bowes. Coventry. England. 2020

Pete RingMaster 27/02/2020

Copyright RingMasterReview: MyFreeCopyright

Head On – Robert Christgau/Greil Marcus

Head On

A band we found ourselves hooked on back in 2018 through their debut album Ubik, Greek outfit Head On has so far evaded the major spotlights which we suggested were on their near horizon courtesy of their striking full-length but are back to tease them once again with their new two-track single.

The Athens hailing band again breed their tracks from a post punk heart enveloping both with just as potent post rock atmospherics but swiftly both Robert Christgau and Greil Marcus reveal the band’s sound has embraced a far richer and thicker expanse of flavouring compared to that within their impressive album. Equally there is a bolder maturity to the web of styles and imagination making up its senses entangling prowess, one increasing that suggestion that Head On deserve greater attention.

Both tracks making up the single are inspired by American music journalists and each a tribute with a touch of individualism and rebellion which could be said to equally spice the writers work. A-side is Robert Christgau, a song immediately winding attention enticing guitar wiring around ears. Rhythms gather with increasing intensity too though they never quite find a concussive touch as the track slips into its infectious post punk nurtured stroll. Tofer’s vocals join the canter, his resolute tones firm but with the same underlying off-kilter dynamic as carried by Breathiac’s guitar and Levojohn’s bass. With the equally purposeful beats of Kostas driving and adding commanding manipulation to song and listener alike within the melodic web cast by Breathiac, the track is pure captivation; essences of bands such as early Cure, Unsane, and KEN Mode coming to mind in varying degrees.

Greil Marcus provides the B-side and similarly had us on board from its initial nagging breath as guitar and bass nudges teased and lured before uniting in a more voracious canter with those same virulent hooks at work. There is something akin to a fusion of fellow Greeks SPInnERS and Russian punks Biting Elbows to the song but swiftly Head On stamp down their uniqueness as the cold taunting of the track and its virulent character thick in enterprise got under the skin. Senses scorching eruptions in sound and especially Tofer’s vocals only add to the tension and captivation of the track, its ferocity and disturbed breath adding to the thrilling drama.

Both tracks had us hungry for more and eagerly anticipating the next unpredictable Head On roar which hopefully will have a much larger landscape of ears waiting its unveiling if the band’s new single gets its deserved reward.

Robert Christgau/Greil Marcus is available now @ https://headongreece.bandcamp.com/releases

https://www.facebook.com/Head0n/

Pete RingMaster 05/02/2020

Copyright RingMasterReview: MyFreeCopyright

Dicepeople – Destroyer

Though UK outfit Dicepeople did not exactly turn to the darkside with their acclaimed last album, One From Many, it certainly immersed in the darkest shadows emotionally and physically whilst providing a contagion of sounds. With their new EP the duo continues to explore the volatile union of dark and light, going deeper in the domain whilst stretching their sound and imagination in another fresh and provocative breath of thick captivation.

The creation of musician, songwriter and producer Matt Brock, Dicepeople has been luring ears and emotions since 2013 with their dark electro sound. With vocalist Zmora completing the line-up, the band has released a host of attention luring, praise garnering albums and EPs with 2018’s outstanding One From Many breaching a new level in both as the band’s blend of EBM, industrial, post-punk and electro-goth ventured into those darker life enveloping shadows. Destroyer carries on where the album left off yet reveals its own new journey exposing and pushing that balance between dark and light, its sound equally more immersed in the rapacious realm of dark electro but still hosting the eager diversity which has marked the band’s music over the years.

Released through the ever compelling Syndicol Music, Destroyer takes the listener “on an intense, disturbing journey through the twisted emotional minefield of relationships that turn to the dark side” and quickly proves as naggingly infectious as it is tension soaked from the moment opener Rollercoaster erupts in ears. The festering of synth which brings it forward alone has a threat and welcoming to its coaxing, the beginnings of the song’s synth pop underlay already enticing instincts as Zmora’s distinctive tones begin to unveil the emotional darkness within. Voice and sound unite in increasing catchiness and insecurity, doubt and restlessness lining every syllable and note whilst rousing ears and body from the speakers.

The following Siren Song has a sepia colouring to its beginnings, an off-kilter string like intimation that alone is potent enough to ensure keen attention before greater apprehension and menace brews around Zmora’s succubus like confrontation. Thickly darker than its predecessor and haunting on every level, the song emerges as a thickly infectious incitement before Don’t Save Me pleas for paradoxical freedom, longing and love twisted in an anomalous romance. The track merges the instinctive catchiness of the EP’s first song and the ravening intensity of its predecessor, a fusion casting another enthralling emotive tenebrosity upon the imagination.

Both tracks are superb, eclipsing the undoubted might and caliginous beauty of the nonetheless excellent pair bookending their presence, the EPs title track closing up the release with its own riveting turbulence of magnetic electro sounds and emotional agitation.

It is an outstanding end to another simply enthralling and greedily enjoyable outing with Dicepeople, Destroyer quite simply one irresistible incitement on ears and the drama of the heart.

The Destroyer EP is out now via Syndicol Music; available @ https://dicepeople.bandcamp.com/album/destroyer-ep

https://dicepeople.com/   https://www.facebook.com/dicepeople/   https://twitter.com/dicepeople

Pete RingMaster 28/01/2020

Copyright RingMasterReview: MyFreeCopyright

She Made Me Do It – Scorched

She Made Me Do It is a band which weaves compelling adventures not only in sound and the web of flavours making up its character but also from the rich shadows within the depths of both and the duo’s imagination. Across a host of releases and tracks it has provided a kaleidoscopic landscape of intimation and contagion which has maybe been no more compelling than within new EP, Scorched. Its five tracks share intense enterprise and rich drama, the release a bold venture into the outfit’s creative psyche and one eagerly tapping into the cinematic conjuring of the listener.

The successor to their acclaimed Drenched EP, Scorched finds the twosome of Shaheena Dax (Rachel Stamp) and Will Crewdson (Rachel Stamp, Adam Ant, Scant Regard, The Selecter, Bow Wow Wow, Flesh For Lulu) infesting their alternative electronic rock with the richest tapestry of genre varied threads to escape the London based pair yet. Theirs has been a proposition always embracing the ripest essences of punk, new wave, post punk but the new encounter borders on the ravenous in its seizing of fresh diversity.

Scorched opens with the band’s new single, Love’s Demise bounding in on a tide of voracious rock riffs and swinging rhythms before the swiftly joining tones of Dax show just as much hunger in their melodic enticement. Crewdson’s guitar continues to snarl as its infectious nature aligns with that of Dax, hard and punk rock spices taunting as electronic fingers tease in the riotous but controlled stomp.

The rousing start is only accentuated by Fun and Games, a track which lit up the airwaves with its uncaging as one of last year’s best singles. A calm but keenly coaxing electronic pulse dances in ears first; it’s subdued but apparent skittishness soon surrounded by a contagion of air splattering beats and attention burrowing hooks, it all courted by the delicious dark bassoon-esque grumble of the bass. The infection loaded stroll is soon equipped with greater temptation as Dax brings her perpetual craft and captivation, alt pop and punk insisting on uniting with the track’s rock instincts to dig deeply and relentlessly under the skin.

Throughout both, shadows lurk if in a subdued state but now flood the sounds within the EP’s stunning third track and our senses. It is a cover of The Cure’s Three Imaginary Boys, a slice of already undeniable greatness given a whole new breath of drama and potency. Crewdson and Dax draw out the anxiety and tension of the original, increasing both as they escalate the post punk heart of the original. It is pure drama, emotions caught in a dense spiral of apprehension and inescapable contagion as the band equip the song with a cinematically claustrophobic air soaked in an emotional cold war amidst a crepuscular soundscape.

The equally exceptional Poison Aura follows, it too a dark senses consuming address of ears and thoughts even with the golden glow of Dax’s voice an absorbing light across the track’s caliginous tone and post punk nurtured landscape. The encounter ignited the imagination as much as ears as again a theatre of intimation provided a palette of suggestion so easy for the imagination to paint with.

For all the thick ravenous shadows the band breeds, each track is a surge of greedy catchiness too, the band’s pop instincts fuelling the heaviest dark and equally the most boisterous light, final track Fatal Confidante epitomising all in its esurient virulence and pop punk featured tenacity. As much as the EP’s tracks infest ears and imagination with the creator’s craft and fascination, all invade feet and body with a matching zeal, the last song on offer unscrupulous in getting the listener bouncing.

With a cover any band on a similar endeavour will have to truly go some to match and a striking quartet of inimitable and unique She Made Me Do It goodness, the sensational Scorched confirms the duo as one of the UK’s most exciting and imaginative encounters; one we have already been enslaved by and do not apologise for urging all to check out with even greater lust.

The Scorched EP is out now, available @ https://shemademedoit.bandcamp.com/album/scorched-e-p

https://www.shemmdi.com/   https://www.facebook.com/shemademedoitpage   https://twitter.com/SheMMDI

Pete RingMaster 05/02/2020

Copyright RingMasterReview: MyFreeCopyright