Horse Party – Out Of Sight/Receiver

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The exciting thing about UK band Horse Party is as much as they have openly grown in songwriting and sound, they have lost none of the instinctively raw and organic essences which made them strikingly leap out with debut single Back To Mono almost two years ago. Their new single is bound in majestic raunchy charms as both Out Of Sight and Receiver show new striking steps in craft, sound, and sheer creative adventure, but each still seduces with that primal spice which brought the trio to life.

Hailing from Bury St Edmunds, the threesome of vocalist/guitarists Ellie Langley and Seymour Quigley, alongside drummer Shannon Hope, have persistently garnered acclaim and an increasingly growing and devoted fan base with their gripping and at times sinisterly devilish sounds. From the Scarlet & Blue EP to last year’s debut album Cover Your Eyes, released through Integrity Records, Horse Party has gripped attention and increasingly greedier appetites, including those of 6music’s Lauren Laverne and Steve Lamacq, Shell Zenner at Absolute Radio and XFM’s John Kennedy. Live too the band is no stranger to eager responses, last year seeing the band successfully playing Latitude Festival’s Lake Stage at the invitation of Radio One’s Huw Stephens and BBC Suffolk Introducing. Now Out Of Sight/Receiver is poised to push the band on again, and as it is without doubt their finest hour to date, it is hard to see it failing to tempt the broadest spotlights upon the band.

Out Of Sight starts things off and is instantly prowling ears with thoughtful yet predatory riffs from the guitars matched by crisp beats. The darkly seducing tones of Langley queens over the 10847766_768484469911623_4136520996259037093_nentrance, her delivery sure and intense yet wholly seductive from the first breath. Widening its expression without leaving its shadowed scenery, the track proceeds to tease with small burst of melodic light and anthemic vocal unity whilst steely hooks only add to the addictive bait of the song. Fizzing up further into its presence with psychedelic lit sultriness and smouldering emotion, the adventure continues to be unpredictable and inescapably addictive with a chorus which similarly becomes more virulent and entrancing over the length of the outstanding song.

It is a glorious temptation but even with its might cannot help being surpassed by the delicious alchemy of Receiver. More energetic from the first second, the track is also an even darker and more sinister provocation, riding in on an irresistible post punk rhythmic baiting of ears and imagination. It is wonderfully repetitive from hereon in, riffs and hooks recycled with compelling effect as the dual tones of Langley and Quigley croon with sobering yet magnetic persuasion. That post punk essence is a constant treat within the song too, essences of bands like Au Pairs and Joy Division merging with the darker side of a Morningwood or Yeah Yeah Yeahs, but coming out as something ingeniously unique to Horse Party.

The song as the single is outstanding, both songs easily the best things to emerge from the imagination of the trio and they have some treats already under their creative belts. Horse Party is a band ready to join the frontline of the UK garage rock/rock scene and with releases like this drive it to new heights.

Out Of Sight/Receiver is available from February 23rd on limited edition 7” black vinyl as a co-release by R*E*P*E*A*T Records and the band’s own Pure Deadly imprint @ https://horsepartyparty.bandcamp.com/album/out-of-sight-receiver-7-single

Horse Party are also on tour right now with upcoming dates at…

Friday 27th February – Ipswich Steamboat Tavern

Friday 27th March – London The Garage

Saturday 2nd May – Bury St Edmunds Fringe Festival

Friday 15th May – Cambridge Junction

Saturday 13th June – Norwich Open

https://www.facebook.com/horsepartyparty

RingMaster 22/02/2015

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

 

 

SeaWitches – Stars

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On the surface Stars, the new single from UK band SeaWitches, is a simmering lake of melodic radiance but look deeper into its depths and the song is a discovery of compelling shadows and rawer, almost predacious textures. Making a strong first impression but becoming more fascinating and captivating with every embrace, the song also suggests Liverpool has yet another tantalising proposition blossoming in its musical heritage.

The seeds to SeaWitches began with the meeting of Jo Herring (vocals/guitar/bass) and Laura Caldwell (bass/guitar/keys through friends in 2007. Their creative talent and musical passion SEAWITCHES ARTWORK PRINT finalsoon united and from being initially called The Woods, brought SeaWitches to the Liverpool music scene. Drummer Tilo Pirnbaum joined the band in 2012, a year also seeing the release of their well-received debut, the Spacegun EP. Since then venturing successfully further afield into places like Manchester and London, the band last year unveiled new guitarist Jamie Jenkin and second EP Tear back the sky, again to potent responses and praise. Now the quartet casts Stars on the country through Edge Hill University’s The Label Recordings, run by Carl Hunter of The Farm and assisted by media students, the song a blaze of radiance sure to catch a host of new appetites and lure further eager attention.

The song’s first breath brings a rich melodic enticing complete with a spicy hook which would not be out of place in an Echo and the Bunnymen offering. Alongside it though a dark throated bassline brings a more post punk flavouring whilst vocally and infectiously the song has a whisper of The Passions to its discord kissed pop. Similarly though a shoegaze ambience and dark folk temptation manages to loudly whisper within the feisty and pungent energy of the song, more flavours emerging with each passing moment in the potent underbelly of the increasingly bewitching and riveting encounter.

In many ways Stars is a puzzle to explore, a seemingly warm enticement leading to more unpredictable and slightly turbulent sinister explorations but thick exciting rewards. SeaWitches spin a spellbinding hex through their new single and we suggest they and we can expect big things ahead.

Stars is available via The Label Recordings from 16th February

https://www.facebook.com/SeaWitches/

RingMaster 1602/2015

Copyright RingMaster: MyFreeCopyright

https://www.youtube.com/watch?v=pU37ylCYa-A

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

 

Cauldronated/ Dave.I.D / Sebastian Bartz at The Unicorn January 30th 2015

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It was a night so cold that face stubble receded to search for warmth and involved a walk long enough to worry time zones, but all was forgotten at The Unicorn, Camden on the last Friday of January 2015, thanks to a trio of bands which left the senses reeling and emotions elevated. The night marked the return of the venue’s Post-Punk Club, and the dramatic union of what are three of the UK’s most uniquely original and inventive bands right now.

Anticipation was already a heady brew for Cauldronated, the new band of Dave Barbarossa of Adam and The Ants, Bow Wow Wow, Republica, Chicane… the list goes on…fame. An appetite sparked by his history and confirmed thanks to already unleashed tracks and videos. Equally there was a seriously pricked intrigue in the prospect of being introduced to two artists with a healthy buzz around them, Sebastian Bartz and Dave.I.D. It proved to be an adventure which threw assumptions and expectations to the floor and set about stirring up blood, energies, and emotions.

The night opened with the post punk voracity of Sebastian Bartz. As became the norm for the night, the quartet of musicians arrived as good as unannounced, as every song on the night from all bands (our only niggle), and swiftly unleashed a sonic tonic for the senses with immediate effect. Song after song was sculpted around a seriously potent rhythmic frame, with the drummer especially stealing attention in a couple of the tracks, including the closing treat from the band. To this guitar and keys added their often raw and always impressively toxic melodies as Sebastian prowled and sized up each song and audience member with a belligerent but endearing androgynous theatre. Fresh to the presence of the man, it is fair to say that he and the band impressed unreservedly, every second of sound and twist of lyrical spite accompanied with addictive antagonism and contagious craft. Equally there was a power and attitude expelled which often pushed tracks to their rawest limits, and caused ears to wilt under the sonic force offered though they only remained hungry for more, especially with tracks like She’s Gone which was amongst so many standing out, but the only one with a title known. Not letting a broken guitar string deter the onslaught of post punk imagination and intimidating devilry from songs and band, Sebastian Bartz powerfully proved why he has the reputation of being one of the really exciting propositions of the London live scene.

It is clear that the majority of the audience was there for one particular thing, to see Cauldronated, which left Dave I.D. who closed the night, staring at only a handful of certainly keen and attentive bodies. It was a shame as the solo musician captivated with his heavily atmospheric and soulful sounds. His hands were often a frantic movement spinning a web of musical invention with his varied equipment whilst his creative nature was a twitch of vocal angst and expression. There is a dark emotion to his industrial seeded music and sobering lyrics which challenges and transfixes simultaneously. Also there is an underlying anger which skilfully colours his music and on the night seemingly erupted with a flying drum stick, though if in frustration at the lack of bodies before him it was possibly understandable, his compelling set deserved, as his emotive sounds, more.

Splitting the two was Cauldronated with a performance which blew away man and night alike. As mentioned the newest project of Dave Barbarossa, the band took merely the initial tempting of 10891845_1567448743468059_6897666929198738212_nopener iBossa to bind attention and imagination, never relinquishing it until the last beat and note of the demanded encore. On stage the band is driven by Dave’s still strikingly potent and inspirational rhythmic craft; in fact ‘still’ does him an injustice as much heard on the night left marks surpassing a lot of his legendary history in invention and sheer agility. In front of him stood the vocal, lyrical, and occasionally rhythmic drama that is Italian extrasolar poetess Eva Menon. The lady has a presence which forcibly lures attention yet is as organic and natural as it comes, well until she unleashes her lyrical tirade which just enthrals and sparks in ears and imagination. Eva has a stage scowl, a leering confrontation which is not forced but part of the whole impacting incitement that is Cauldronated yet also an underlying mischief which could not stop breaking out through smiles on the night, especially to the birthday wishes flung her way.

As said opening with the exceptional iBossa, which as all their songs sounds even more powerful and infectious live, there was the feeling that if they could straight away uncage a fan favourite there was bigger treats to come, and so it proved. Songs like Buy This Thing and In This World left bodies and emotions enslaved, Dave’s ridiculously creative and addictive beats turning feet and limbs into his own personal puppets whilst Eva has thoughts bound with her scythes and lashings of vocal and lyrical confrontation. Of course around this, binding their ingenious strikes are the adventurously melodic and creative sounds of David Harman, absent on stage but lighting up every song with imagination and worldly temptation through his recorded enterprise.

The band’s incredibly rousing set flew by in a blink, but every minute was a standout muscular and tenaciously seductive flirtation. The band’s bio call their sound punky, drum-centric techno, surely after such a stunning performance, it should be merely tagged as alchemy. As mentioned it seemed like the whole night was there for Cauldronated, the likes of Andy Dukey from London based band Top Buzzer and Johnny Summer, the head of the Reputation Radio Station, adding their enthusiastic moves to a seriously invigorated and healthy crowd.

Dave Barbarossa is no stranger to helping create and driving forward some important moments in the history of the British music scene, and he with Eva and David Harman could just be poised to do it again. Certainly with the equally stand-out performances of Sebastian Bartz and Dave.I.D backing them up, Cauldronated has given London an early pinnacle in its live scene for 2015.

http://www.cauldronated.net/

http://www.dave-i-d.com/

https://www.facebook.com/sebastianbartzmusic

RingMaster 04/02/2015

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

H. Grimace – I Am Material EP

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Having a rather greedy appetite for discord in our musical preferences ensured that the I Am Material EP from UK band H. Grimace made an immediate good impression with its healthy dosage of that flavoursome ingredient. The added bonus of psyche bred melodies, vocals delivered with a low key energy, and a mosaic of sonic colour and spices only increased the impressive lure of the six-track thrill. It is not without lulls, rather than flaws, in its striking persuasion but ultimately the Londoners newest proposition is one seriously exciting and refreshing proposition.

A band strongly on the lips of the capital’s emergent punk/ DIY since forming in 2011, H. Grimace is the brainchild of Hannah Gledhill and Asher Preston who met whilst working at an East end bakery. Taking a mutual love for 70’s surf / post punk and 90’s dissonant guitar bands into their own ideas, the pair brought the band to life, subsequently increasing its line-up last year with the addition of Syed Shan Pasha and Marcus P. Browne. May 2014 saw the acclaimed release of the band’s self-titled vinyl EP which followed a split release with Joey Fourr the previous year on Bad Paintings. Now the band increase their presence and reputation with I Am Material, a release refusing to be pinned down with tags and revelling in offering something new.

Ears are pricked and lips licked as soon as the opening Caped Crusader like bassline in Imogen nestles provocatively in the imagination. The first track swiftly backs its initial tempting with a reserved jangle of guitar and similarly fuelled vocals. It is a vibrantly dour start which simply captivates body and emotions with sublime ease. Small crescendos of energy and passion erupt throughout the otherwise single minded gait of the song, raising the temperature and adventure of the mouth-watering encounter as potently as the flames of surf rock enterprise which spices up a3483519742_2the infectious incitement. As mentioned earlier, H. Grimace’s sound is hard to pin down but certainly a seventies/eighties post punk/ melodic punk feel is a loud whisper as the track reminds of The Passions and at times The Mo-Dettes.

The outstanding start is surpassed straight away by the following Royal Hush. As its predecessor, the riveting song puts down the groundwork to seducing the passions instantly, this time with rolling almost tribal rhythms courting a melodic coaxing of guitar. The laid back bass mumble adds to the drama whilst the bewitching vocals of Gledhill bring only greater bait for ears and appetite to devour greedily. The Au-Pairs is a comparison the song brings yet as the first, it is spinning a web of ingenious originality and sonic persuasion which flirts with various decades of indie/punk exploration. There is also a melancholic restraint to its energy and emotion but the outstanding song still revels in a tempest of expression and intensity, going through the gears as it brings its brooding rock ‘n’ roll to a fiery climax.

To The Shaggerston cannot quite match its predecessor but still sends a stomp of raw energy and punk seeded devilry through ears. That ever present scent of discord is brighter and louder in the third song, teasing and spicing up the sultry surf rock melodies which whisper and eventually croon evocatively over the senses. More a smoulder than a blaze in comparison to the first two tracks, it immerses the listener in an intoxicating climate of sound and enterprise which is emulated again by the more pop spawned shuffle of Immaterial Girl. A Gang of Four like bass coaxing and post punk guitar endeavour embrace the again gripping vocals, the song breezing along with an inescapable magnetism which simply lights up body and emotions.

I Am Material is brought to a close by firstly the sobering charm of Great Divide and lastly by the thick humidity of Wasted Sun. The first of the two, as the previous track, is a slower persuasion but with a volatile atmosphere and nature which perpetually intrigues and has the imagination bound from its first sonic flame. Like a desert sun, the song is slightly oppressive in its heady climate but simultaneously is a contagious seduction which like earlier tracks makes a lingering conquest. The closing encounter is a boldly simmering slice of discord sculpted balladry with great raw harmonies and melodic jangles. The least successful of the six but still a mesmeric persuasion it beings the EP to a potent conclusion.

There are not many bands emerging these days which truly have bred a new and unique proposal for ears and thoughts to contemplate let alone bask in, but H. Grimace is to the fore of those successful applicants. I Am Material EP is a must for discord embraced sounds and something really rather fresh.

The I Am Material EP is available now via Soft Power Records as a Ltd Ed Cassette (100 Standard Pale Grey / 50 Yellow—tour exclusive) @ http://softpowerrecords.bandcamp.com/album/i-am-material and digitally on iTunes etc.

https://www.facebook.com/pages/HGrimace/247309995353932

RingMaster 27/01/2015

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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The Black Black – Boogie Nights

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There is no denying that the One Blunt Death Party / You’re A Danger 7” single from The Black Black towards the end of last year, scored a deep rooted place on the soundtrack of our and a great many other’s passions with its three tracks of psyche flirting post punk. The release was not only confirmation of an already impressing emergence from the Brooklyn band but a sign post of greater exploits being brewed. It is a recipe which has come to a scintillating and seriously compelling boil on the trio’s debut album Boogie Nights, a salaciously contagious and schizophrenically toned incitement of post punk devilry. Inspired by the 1997 movie of the same name, the album is dirtily seductive and sonically swarthy, though no fakery in colour or overblown additives can be found on the lean and creatively rapacious groove machine. If you thought The Black Black was already the tang to your ears and day, be prepared for melt down once the rhythmically voracious and sonically irresistible Boogie Nights takes hold.

Formed in the latter months of 2011, The Black Black were soon luring attention with the self- release of a pair of EPs in 2012 and a split 7” with fellow Brooklyn band Low Fat Getting High. The early weeks of 2013 saw the band entering the studio with drummer Stephen Chopek (The Everymen) to record the double-A single One Blunt Death Party / You’re A Danger, the first for Money Fire Records and released in the September of that year. It was the spark to a far broader awareness and attention upon the band, the acclaimed release also in the words of the band, the first which “truly captures the bass-driven, groove-heavy sound and energy of the band.” With drummer Tomo Ikuta joining the founding pair of guitarist/vocalist Jonathan Daily and bassist/vocalist Chris Schnaars also that year, the band has obviously continued to hone their sound and invention resulting in an album which stalks new plateaus of imagination igniting alchemy.

From the first stubby rhythmic swipes and acidic strikes of guitar, opener the plan is, there is no plan has thoughts and appetite on their feet and throwing moves. The angular spicy sparks and grooves of guitar are instant flirtation which the wonderfully throaty bassline and crispy rhythms match in imposing kind. Teasing with a bluesy scent to those grooves and its air, the song continues to rumble and shuffle vivaciously as expressive vocals behave as mischievous and predatory as the sounds around them whilst sudden dips into restraint and melodic seducing add extra bewitchment.

The tremendous starts is straight away emulated by black black snow, the second song again throwing out wiry and tasty grooves as its body swings beats and riffs like an Ian Curtis dance. AlbumCover-MichaelSincavageThoughts of Wire come to the fore quite swiftly, as too of The Gaa Gaas whilst the raw and rhythmically addictive side of the track is bred from the same primal instincts as The Fall. The track is a scuzzy turbulence of pure addictiveness and sonic sexiness, but it and its predecessor soon have to bow before the brilliance of until death do us party. The lead single from the album, it is a temptress from start to finish with a compelling acidic groove, coldly exotic hooks, and anthemic vocals as its biggest weapons out of many. Discord as ever is a vibrant colour to the band’s sound whilst a toxic melodic hue only excites the already vivacious adventure, but with grizzled bass tones and agitated rhythms courted by Mekons like sonic tenacity, the track breaches an ingenuity which is breath-taking.

The following what the world needs now strides purposefully in next with a beat carrying bulging biceps and a grizzly bass enticement which soon has the appetite licking its lips. A low tone to the vocals adds to the addictive drama before the song expels a caustic breath and garage rock ferocity. It slips through both elements again before twisting into a psychotic swing and vocal bedlam which again has body and thoughts dribbling in pleasure. The glorious tempting takes a different avenue with the darkly shadowed machine, who me?, cold almost sinister essences draping over the vocal agitation and Joy Division seeded revelry. As in all encounters though, numerous side steps and unpredictable turns bring greater fascination and ardour the way of the eventual Baddies flavoured evocation.

The previously exalted you’re a danger soon has ears and feet engaged with its slightly unruly but seriously infectious sonic emprise. Wrapped in richly spiced tendrils of melodic fire and intimidating bass menace, the song simultaneously smoulders and stomps on the way to hypnotising the senses with its unrelenting and feverish tapestry of alluring discord and searing guitar toxicity. The track as so many from the band, just seems to grow and worm deeper under the skin over time, a persistence which flows through the album and especially in songs like this drink’s familiar. Shimmering loudly with every shudder of guitar strings and grouchily tempting with every bass slap, the song slowly swarms over the senses, flirting with ears on the way through with bright flickering moves and raunchy beats.

Things get dirty and greedily energetic again with the silence is deafening, a grooved beast of riotous and infection fuelled escapades, and restrained with the sultrily tempting phillip gets divorced. The second of the pair is unafraid to occasionally fire up its bedlam though and bursts into occasional fierce blazes of sound and vocal fury, whilst both songs treat the imagination and passions to exhilarating doses of bracing and abrasing rock ‘n’ roll.

With the similarly irresistible creative psych-out of this land is not your land bringing the album to a close, Boogie Nights has little difficulty inflaming old passions and triggering new lustful responses. It is a certain challenge to all best of lists due to be offered around now and for newcomers to The Black Black an inescapable and thrilling doorway into post punk anarchy whilst for fans it is simply the best thing since…well the band’s last sonic plaything.

Boogie Nights is out now via on Money Fire Records digitally and on 12″ white vinyl @ http://moneyfirerecords.com/boogie-nights-by-the-black-black/ and http://theblackblack.bandcamp.com/album/boogie-nights

https://www.facebook.com/theblackblack.nyc

RingMaster 12/12/2014

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Witching Waves – Fear Of Falling Down

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Having been hooked by the band with their limited edition cassette single Concrete/Chain Of Command earlier this year, there was a fair few tingles running through anticipation with the announcement of the debut album from Witching Waves. Those urges have grown to lustful proportions now that Fear Of Falling Down has infested ears and psyche, the release confirming all the promise and thrills experienced before whilst showing a broader adventure and creative resourcefulness in songwriting and sound.

Hailing from London and formed in 2013 as the brainchild of duo Emma Wigham and Mark Jasper (Sound Savers Recording Studio), Witching Waves through their unrelenting appetite for performing live and songs swiftly drew keen attention their way. Fusing as many essences of punk as you can imagine in a noise and discord sculpted garage pop incitement, the band bridges the DIY essence of the late seventies and the voracious causticity of modern invention; kind of like Swell Maps meets The White Stripes but for a truly unique and tenaciously addictive proposition.

Released via Soft Power Records, Fear Of Falling Down sees the duo now a threesome with the addition of a bassist, though we cannot tell you the name. The band’s fourth release, after Witching Waves LP Cover Artthree cassette singles, is a master class in raw sonic temptation and primal rhythmic slavery; each song united by a certain anthemic swing and creative tenacity yet alone in warped character and discordant agitation. Recorded on to 8 track tape, the album is a minimalistic yet inventively involved incitement, a cavernously toned but intimately delivered protagonist to excite ears and imagination with ease.

The album’s title track is the first to get the juices flowing, the opening jangle of guitar just the prelude to a rhythmically driven slice of agitated pop. The excellent vocals of Wigham soon join the rampancy of drums and the scrub of guitar before Jasper takes over with his equally captivating tones. Virulently catchy with a bounce to match, the track dances with ears and emotions from start to finish; every note, beat, and vocal enterprise simple but expertly creative seduction.

The post punk kissed Cold Out comes next, the contrast of the harmonic elegance and rawer expression of Wigham and Jasper respectively, alone a gripping enticement. In some ways there is an early Siouxsie and the Banshees feel to the song but also the flowing melodic quaintness of a Morningwood, the combination an addictive proposition, though soon surpassed by the poppy endeavour of Better Run. A slight spring of surf rock runs through the garage rock bred song whilst again vocals are as broadly bewitching as the slim but pungent sounds around them. As most tracks on the album, it is hard for feet taps and vocal participation to restrain from joining the band during the progress of its gently cacophonous croon before it makes way for the post punk infused stroll of Counterpoint. With repetitious riffs and infectious rhythmic bait, the song is a more challenging persuasion with its soaking of acidic discord and off key dynamics, but another to leave ears and passions basking.

The raw charm of Concrete comes next, its opening Buzzcocks spiced hook an instant attention grabber whilst a courting stride of rhythms draw their own submissive response. The plain almost disillusioned monotone vocals of Jasper contrast perfectly with the fluid melodies of Wigham, whilst the throaty melancholic bass prowl simply adds an addictive icing to the enthralling coaxing of body and mind. Like an unhinged blend of the Yeah Yeah Yeahs and The Cramps, the song is an aurally dishevelled but controlled temptress, and the perfect appetiser for the brilliance of the following Creeping. Stalking ears with rhythmic eagerness, the song stomps with muscular and concussive beats as riffs and basslines flirt with their own rowdy enterprise. There is for not the first or last time, a similarity to Scottish duo The Creeping Ivies about the band’s sound across the album, here being a potent comparison though again Witching Waves emerge as individual and original in every sonic aspect.

Both the outstanding News, with its hypnotic rhythmic baiting and spicy garage rock keys around a creative drama, and the intrigue drenched Wait Around keeps the adventure of Fear Of Falling Down on its highest plateau. The first of the two is a web of colour rich discordance and imaginative confrontation honed into a ridiculously infectious trap which simply leaves ears, thoughts, and emotions grinning whilst its successor juggles sonic abrasion with warm pop harmonies for another song which takes longer to reach the peaks of others, but only adds to the unpredictable and captivating climate of the release.

Fear Of Falling Down closes with the excellent Barber where garage punk and eighties post punk meet for a contagion filled stamp of punchy beats and wiry hooks aligned to velvety heavy bass lures. It all of course infused with the wonderfully clashing and superbly united vocal attack of Wigham and Jasper.

If Witching Waves have impressed before with their early appetisers then the album offers a fuller and more flavoursome meal of dissonant and melody bred noise. For those new to one of the UK’s most thrilling propositions, Fear Of Falling Down is a sonic lust in the making.

Fear Of Falling Down is available via Soft Power Records as a Limited Edition Vinyl LP (250 Copies) and digital download @ http://softpowerrecords.bandcamp.com/album/fear-of-falling-down

http://witchingwaves.tumblr.com/

RingMaster 08/12/2014

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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

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