Slow Riot – Trophy Wife

Photo by Steve Gullick Photography

Photo by Steve Gullick Photography

Earning thick acclaim and attention with their Cathedral EP, Irish trio Slow Riot are now poised to release their new single and a fresh inventive colour to their already magnetic sound. Their previous release and singles worn an open post punk inspiration drawing likenesses to bands such as Gang of Four, Television, and Wire, as well as a shoegaze scented melodic charm. Though Trophy Wife is still embracing such seeds, it swiftly shows a new adventure of swinging rhythms and imagination tantalising hooks with a vivacity to match that of the driving energy fuelling its body. The result is a compelling affair which still springs from an eighties spawned heart but with the tenacious urgency of the now.

art_RingMasterReviewFormed in 2013, Slow Riot consists of vocalist/bassist Niall Clancy, drummer Paul Cosgrave, and guitarist Aaron Duff. 2015 saw the band release their first pair of singles in City Of Culture and Demons, two intrigue sparking songs which made a bigger impact as part of the attention grabbing Cathedral EP last October. The time between its release and the new single has seen a new twist and exploration in the band’s sound which Trophy Wife is already showing as being a great fresh step.

As the last EP, the single was recorded with Kevin Vanbergen (The Pixies, The Maccabees, Dinosaur Pile-Up, The La’s, Biffy Clyro) at Brighton’s Park Studios and quickly gets to work persuading and exciting ears with its initial surge of beefy rhythms and sonic incitement. Guitars spring a melodic web from there as the bass invitingly prowls, the first cradling the warm tones of Clancy and his harmonic delivery. Almost straight away, that previous post punk spicing emerges as a more new wave hued character, nudging thoughts of bands like B-Movie and Modern English whilst the pounding drive of the song and its intensive undercurrent of virulence offers a Doves meets Editors like tempting.

The track is a vivacious captivation accompanied by B-side Awake For Days; a more laid back proposition revealing another shade in the new palette of enterprise used by Slow Riot in songwriting and sound. Though hopes are that the band do not entirely free themselves of the darker post punk hues found in their debut EP, there is no denying that Trophy Wife offers something just as exciting and easy to find a healthy appetite for.

Trophy Wife is out on April 15th via Straight Lines Are Fine @ http://www.thegenepool.co.uk/artists/SLOW+RIOT.htm

Upcoming live dates:

18/04 – Opium Rooms, Dublin w/ Mission Of Burma

23/04 – Kasbah Social Club, Limerick

25/04 – The Waiting Room, London (free show)

https://www.facebook.com/slowriot.theband   https://www.instagram.com/slowriot.theband/   https://twitter.com/Slow_Riot_Band

Pete RingMaster 14/04/2016

Copyright RingMaster: MyFreeCopyright

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Playing House – New Haircut EP

Photo by Veronica Aguilar Photography

Photo by Veronica Aguilar Photography

The New Haircut EP is another debut this year which needed little time to excite ears and incite reactions to go wow. There has been a few already in 2016 and amongst the most thrilling is this introduction to East London alt-pop trio Playing House. The three song festival of pop discord and irresistible hooks simply grabs attention and a swiftly greedy appetite with its creative devilry and maturity. Listening to the EP for the first time was a being stopped in the tracks moment with the grin on face and the passions telling all.

Much like another big site favourite Horse Party, Playing House is a two girl, one guy exploration of pop music. Every raw jangle, off-kilter twist, and discord fuelled sidestep of the genre embraced and re-honed to the threesome’s own startling escapades whilst weaving in the melodic prowess and flirty hooks you would expect and hope for. Inspirations for the three are said to include the likes of David Bowie, Velvet Underground, and Chic but you just can tell that their own tastes provide a much broader canvas for their music to draw from before finding its own unique character.

Hitting the London live scene in the September of 2015 with a sold out headline show at St Giles in The Fields Church, hosted by Kal Lavelle for her We Love Shows series, Playing House have become a greedily devoured live proposition. The New Haircut EP is going to try and transfer that support to a broader landscape with its release; success hard to see being missed as gets ears lustful again listening to the release whilst fingers hit keys.

It opens with the first song written by the band, Feel The Weight. Its initial touch is a fuzzy mist of keys, the second a romping stroll of bouncing rhythms and a spicy hook still embraced by that melodically dissonant wash. The coaxing into the song is ear thrilling and becoming even more irresistible as things relax for the lively and lyrically potent vocals courted by an equally infectious prowess to rhythms and riffs. The edge to its thick beats contrasts perfectly with the funky swing of the song and the imaginative blend of vocals from the two ladies, a combination of sound and energy which has a definite and repeated in other songs feel of 4 Non Blondes to it.

The excellent start only hits another plateau with the EP’s title track and band’s new single. New Haircut is quite superb, again enslaving attention from the first moments as choppy and steely guitars entangle around the vocal roar. Once the song slips into post punk meets alternative pop ingenuity, the deal is done, ears and passions enslaved. From there rhythms roam and roll with a quirky almost deranged tenacity whilst stabbing riffs and those increasingly choppy chords have feet and spirit throwing shapes like a slinky. The track is quite brilliant with that vocal agility and adventure of the band the ringleader to glorious revelry and lyrical incitement of thought.

The release is completed by Grapefruit, another addiction in the making proposal which takes barely seconds to entice and engross as guitars chip away at ears which are simultaneously being slowly seduced by keys. Though carrying a more restrained energy than its predecessors, the song has a lively swagger and charm which will have bodies on their feet and hips swaying in boisterous union.

It is a fine end to one thrilling first look at Playing House. You always assume a band will grow and blossom further from their first endeavour which in this case means the British music scene has one mighty and destined to be exhilarating adventure brewing ahead of them. A must hear release.

The New Haircut EP is released April 8th

Upcoming live dates:

Wednesday 13th April – Birthdays, London (EP release show)

Sunday 17th April – Sound Control, Manchester

Wednesday 20nd April – Sneaky Pete’s, Edinburgh

Thursday 21st April – The Garage, London

Friday 22nd April – Sofar Sounds, Liverpool

Saturday 23rd April – Moon Club, Cardiff

http://www.playinghouse.co.uk/   https://www.facebook.com/playinghouseuk   https://twitter.com/playinghouseuk

Pete RingMaster 06/04/2016

Copyright RingMaster: MyFreeCopyright

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Antigone Project – From Its Room

Antigone Project _RingMasterReview

Hailing from the creative belly of Paris, Antigone Project made a potent first impression with their self-titled EP late 2014; a debut which has only strengthened its persuasion over time and listens. It was stirring and eventful tempting, a fusion of provocative flavours which has been lifted to a whole new plateau with its successor, the From Its Room EP.

Embracing the emotive qualities of post and progressive rock in electronic and guitar conjured soundscapes whilst equally drawing on the eighties inspired post punk /synth rock essences which marked its predecessor, the EP is a bolder and more immersive adventure exploring persistently evolving and evocative rock landscapes within tempestuous sonic climates. The leap in creative maturity and indeed experimentation between releases and their individual characters is as open as the wealth of textures woven into the EP’s six striking tracks, and as thoroughly enjoyable as that first offering was, From Its Room simply leaves it in its shadow.

Antigone Project is the brainchild of vocalist/guitarist/keyboardist /songwriter Frédéric Benmussa and a project initially intended as a solo venture. Formed in 2002, the band expanded over time with bassist Manu Ventre and drummer Fred Monaco alongside Benmussa upon the latest encounter. Inspirations to the band includes the likes of Pink Floyd, Depeche Mode, Radiohead, Joy Division, Tool, and numerous more, spices which were an open spicing within that first release but far less prominent in the unique proposal of From Its Room.

art_RingMasterReviewThe EP opens with First Rush, an immediately provocative mist of keys and sonic suggestiveness surrounding the senses as the song simultaneously brews up a dramatic and tempestuous climate. Benmussa’s soaring tones soon launch across the brooding canvas, his alluringly harmonies entwining with the floating wash of keys. Both powerfully draw ears as riffs and rhythms brew up within them, the imagination firing intro leading the listener to the following creative theatre of The Black Widow. Tangy hooks and sultry surf rock bred grooves engage ears and appetite straight away as the song’s sinister but seriously alluring character blossoms. As Benmussa’s voice brings another beguiling texture into play, the track’s exotic mystique and post punk charm enjoyably increases, addictive rhythms courting the surrounding adventure cast by guitar and keys. The track is stunning, an early favourite and highlight of the EP which alone shows the new diversity of sound and creative boldness soaking the release.

A live version of Trismus comes next, the band opening with grungy guitars as gothic hued keys rise up around them and the darker lure of the bass. Earlier Radiohead was mentioned as an inspiration to the band and here there is no escaping their scent as again a sweltering sonic colouring with surf/psych rock shading escapes guitars and harmonies as cinematic drama and haunting essences collude. It is a beguiling, imagination igniting immersion of the senses and thoughts, soon matched in creative endeavour by the following Sphere.

In three parts but meant as one musical movement, it begins with MoonSphere where gothic toned keys enclose ears as poetic melodies slip from the acoustic prowess of Benmussa, both expanding their temptation with an array of warm and imposing textures as vocals and rhythms bring their contrasting elements. There is a touch of The Cure and The The to the song, that previously mentioned eighties feel showing itself in a song seemingly as much Nine Inch Nails spiced. The track’s infectious union of shadows and melodic persuasion, a dark and light side, leads into the rousing revelry of VenuSphere. Straight away the track erupts, bounding along with tenacious rhythms aligned to a just as frenetic sonic and melodic resourcefulness. Inescapably though, it is still bred from the same emotional heart as its predecessor even when involving ears in its salacious temptress like festivity. Again a skilful collusion of contrasting shades and textures, this time honed into a virulent spirit arousing canter of electro rock/pop, the track sets flows straight in the final movement in the piece, PerfectSphere.

A darkly shadowed and almost portentous coaxing of ears and imagination, its riveting theatre and emotive tapestry of sound beguiles as it inflames and though as the other two, the song does work as a single proposal, Sphere has to be played as one whole flight of sound to ensure the fall through its cinematic and fascinating depths are felt to the full.

From Its Room is a thrilling new experience with Antigone Project; as suggested a major step on from their certainly impressing debut but one still seemingly like it is only part of the way towards something bigger and bolder, of which anticipation is already brewing.

The From Its Room EP is out now digitally through iTunes and on Ltd Edition vinyl via Season Of Mist @ http://shop.season-of-mist.com/vinyl/antigone-project-from-its-room-lp

https://www.facebook.com/antigoneproject    https://twitter.com/projectantigone

Pete RingMaster 05/04/2016

Copyright RingMaster: MyFreeCopyright

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Autopsy Boys – Return of the acid casualty auto humans

AB_RingMasterReview

After tenaciously grabbing ears and imagination last year with their mischievous invention and punk bred sound through the singles No Ambition and Song For Debbera, electro punk miscreants Autopsy Boys are poised to release their eagerly awaited new album this month. We call the band electro punk but as their fans know and the upcoming Return of the acid casualty auto humans shows, the British quartet’s sound has more distinct styles and textures than a high street boutique. New wave, punk, horror punk, industrial rock, metal…the list goes on to the flavours making up an album which has the creative devilry and mischief of a Saw movie and the relentless hungry adventure of a computer game.

Formed in 2011 by vocalist/keyboardist Lee Brunskjill and bassist Gary Hargreaves, who had already been making music together from 2006, the Leeds hailing Autopsy Boys stepped into the light when the founding pair were asked to open local hard-core punk and heavy metal all day event Beefstock IV. Recruiting friends for the supposedly one off moment, the band simply continued to play and create, with guitarist Alan Laird and drummer Sam Shelton (who recently left to be replaced by Billy James Mitchell) subsequently linking up with Brunskjill and Hargreaves. The following time also saw the earlier post punk inspired sounds of writers and band move into a hardcore punk arena of sound whilst still infusing the healthy revelry of synthesizers and samples into their horror movie/gaming inspired themes.

Singles like Rich Kids Playground/ Negative 8 and Crushing On Cynthia sparked increasing attention the band’s way as too debut album Def Elements in 2012. For all their successes though and that found by both No Ambition and Song For Debbera, the twenty one hefty Return of the acid casualty auto humans is looking like being a whole new ball game for attention and reputation. From start to finish, the album is a maelstrom of diversely flavoured and feverishly explosive tracks sure to ignite the buds of anyone with a taste for electronic, punkish, and bruising confrontational incitements.

Artwork by White Dolemite

Artwork by White Dolemite

Curated by Canadian actress/film director Debbie Rochon, Return of the acid casualty auto humans has attention quickly gripped; The acid test featuring Johnny Violent providing a brief intro with dark threatening shadows to its portentous coaxing on the way to turning into the rousing exploits of 27.8.89. With Blag Dahlia, who we are assuming is indeed the front-man of mighty punk band the Dwarves, the second song opens with an infectious electro rock tempting around steely riffs and firmly landed beats. Becoming more imposing as atmospheric keys collude with dark rhythms but never breaking its catchy intent, the Hadouken! scented song has appetite keen and ready for the fiercer proposition that is Just dance with me. Punkishly irritable and atmospherically sinister, the track quickly badgers and stirs up the senses with a hardcore seeded stomp carrying just a whiff of The Dickies to it.

As strong and heftily pleasing as the album is so far, I’m gonna kill myself lays down a certain pinnacle next. From Hargreaves‘ grievously throaty bassline to the intimidating fusion of vocals and belligerent riffs, it has body and emotions thickly involved in its punk rock challenge and lyrical adventure. Psych rock keys simply add to the raw and vibrant fun as the track reveals just some of the array of flavours fuelling the album.

The band’s early post punk style is still an element which has its say at times and Summers over makes riveting use of those textures with its nagging bassline and steely presence before erupting in a senses scorching crescendo. Like Artery on acid, the song is increasingly captivating just as the old school punk blessed Breakfast at retro Betty’s boutique which gets even more antagonistically incendiary as guest Al Skull adds to the contrasting vocal and sonic trespasses.

Through the power pop/grunge rock coloured STRAWBS! and Song for Debbera, the album demands attention, the first of the two uncaging virulent rock ‘n’ roll with the pugnacious nature of a street brawl. Its successor, with Rochon providing another great entrance to a song, is a contagious electro pop canter with an eighties new wave spattering of noise and bait hinting at bands like The Normal and Inca Babies. Both tracks keep pleasure full, though they soon get eclipsed by the muggy intensity and predacious character of  the excellent Lotti will conduct the same experiment on several different humans and in turn the similarly raucous and bracing Denton ward honey trap. Both tracks are simply shots of punk adrenaline giving the appetite more to be greedy over.

The chase scene provides a dance-punk /r&b infused distraction next; featuring Junior Bear and Debbie Rochon, the song is a lively eighties toned stroll which again enjoyably takes album and sound in another pleasing direction if without quite stirring up the instincts as powerfully as We’re gonna need more bodybags. Visceral in tone and punk ‘n’ roll predation, the song’s blending of metal, hardcore, and electro punk voracity has the body bouncing and energies exhausted by its close leaving Agoraphobia to exploit all with its own frantically bruising and anthemically inflamed incitement. There are numerous pinnacles to the heady landscape of the album, this an unmissable one immediately followed by another in the glorious Level 7: Compulsive. Basking in the involvement of Leeds duo Petrol Bastard, the track goes for the jugular from its first breath; weaving every strain of punk into its own hellacious addiction for ears as its punk irritability and addictiveness provides the canvas for the grin inducing vocal prowess and devilment of band and guest.

The album is at its fullest height now, the past trio of treats matched by the psychotic drama of Every good sitcom gets cancelled after the pilot where Brunskjill seems to have been stuffed down a drain pipe to present his narrative whilst around him a tempest of rock ‘n’ roll boils over as an even more deranged than normal Cardiacs like kaleidoscope of insanity flirts with the imagination.

Lusty reactions continue to be stirred by the Rochon introduced Bubblegum where the guest vocals of Rebecca Lindley especially light up ears within more robustly tenacious endeavour. There is equally no relaxing of appetite and eagerness for Cigarette burns which follows with Al Skull again on board. Though carrying a feel of Peter and The Test Tube Babies and The Adicts to its raw punk storm, keys and the Autopsy Boys ingenuity only twists it inside out to forge another fresh infestation of the senses before the electro punk pop stroll of Every little thing has hips and emotions swinging.

The gentler but no less attitude loaded electronic proposal of Disco for psychopaths steps up next, its creative wares leading to nothing less than unbridled satisfaction. It is a success quickly matched by Town full of microdots and its hungry torrent of hardcore belligerence and rhythmic animosity with Al Skull back again to add to its ravenous snarl, and indeed the melodically acoustic and rabidly frenetic stalker that is Totally obsessed with you which brings the album to a devilishly magnetic close.

With so many tracks there was the fear even as a long-time fan and player of the band’s songs on our podcasts, that Return of the acid casualty auto humans would be a collection of undoubted triumphs but also a few fine but inescapable fillers. From start to finish though, there is no weak link or a song seemingly thrown in to make up the numbers. The album’s strong start just gets bigger, bolder, and more irresistible song by song with, of course particular moments which really ignite personal tastes along the way.

So come the end of the month, we suggest you go treat yourself to an album certain to ride high on many end of year best of lists. Did we mention that the album is to be released by the band as a free download too, with a CD and vinyl release at a later date; as their music might suggest, the band must be mad!

Return of the acid casualty auto humans is released 30th April as a free download via  https://autopsyboys.bandcamp.com/

http://www.autopsyboys.com   https://www.facebook.com/autopsyboys/   https://twitter.com/autopsyboys

Pete RingMaster 04/04/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

deardarkhead – Strange Weather

DDH_RingMasterReview

Rousingly fascinating is probably the best way to describe Strange Weather, the new EP from New Jersey trio deardarkhead, that and gloriously suggestive. Across six tracks as cinematic as they are emotionally intimate upon the imagination, band and release immerses the listener in its and their own sculpted exploits. The release is an anthem to the conjuring of bold imaginative adventures and a tapestry of creative virulence for ears to bask in.

The beginnings of deardarkhead go way back to 1988 since when the band has released five recordings on their own Fertile Crescent Records label with a retrospective of their early work additionally released in 2012 by Captured Tracks. Their distinctive fusion of post punk, indie rock, shoe gaze, and dream pop has been greedily devoured by an increasing many whilst their live presence has seen the band play with the likes of Supergrass, The Psychedelic Furs, Everclear and The Lilys amongst numerous other. Despite numerous compilation appearances, and that 2011 retrospective  Oceanside: 1991-1993 since last album Unlock the Valves of Feeling was released in 1998, you might say that deardarkhead have been a ‘forgotten’ treat by many; if so that is set to inescapably change with the release of Strange Weather.

Always luring inquiring interest with each release, the band has probably ignited the strongest intrigue with the new EP as it is their first without long time singer/bassist Michael Amper who left the band in 2009. His departure only seemed to ignite a hunger to explore their instrumental side as remaining members, guitarist Kevin Harrington and drummer Robert Weiss proceeded to move in that direction and perform instrumental shows after linking up with bassist Kevin McCauley the following year. The suggestion is that the band is looking for the right vocalist to bring in but on the evidence of Strange Weather, and its empowering potency, you wonder if it will be any loss not finding the right man.

art_RingMasterReviewFrom its first track Strange Weather has ears and emotions enthralled, the imagination just as swiftly ignited as Falling Upward emerges from chilling winds within a dank atmosphere. It is pulled from the wasteland by a nagging guitar, its sonic lure soon colluding with the resonating bait of the bass and crispy textured beats. With them comes a tenacious catchy resourcefulness which infectiously lines the post punk hook and bass groove which subsequently entwine and enslave ears. All the tracks to the EP spark ideas and mental imagery, ones sure to differ person to person, but a cold war like landscape is ours adventure for the opener no doubt helped by having recently watched Deutschland 83. There feels a cinematic kinship between the band’s sound and those visuals with every leap into the sonic tapestry of the song pushing the story along.

With a touch of Leitmotiv to it, the track is a riveting start, leaving ears and pleasure lively and ready to embrace the warmer jangle of Sunshine Through The Rain which follows. There is a calmer air altogether to the song, a melodic radiance which wears the scent of eighties indie pop yet contrasts it with a steely proposal from bass and hypnotic beats. Again captivation is a given to its My Bloody Valentine aired persuasion though it is soon outshone by the thrills and dramas of both Juxta Mare and March Hares. The first of the pair unveils a sultry atmosphere around a delicious melodic hook and bassline which would not feel out of play of a sixties/seventies TV spy thriller. Its lean but thick lure is the spring for an evocative weave of sonic enterprise and suggestive melodies, all courted by the dark shadows of bass and the persistently jabbing swings of Weiss.

As outstanding as it is, it too gets eclipsed by its successor, March Hares stealing the whole show. From the pulsating rhythms of Weiss to the snarling tone of McCauley’s bass, the track has ears and an already lustful appetite enslaved. Their irresistible bait is then entangled in bewitching tendrils of sonic imagination from Harrington; the song subsequently swinging along in the web of their united craft and invention to entice body and spirit further. In full stride, the track has a great feel of The Monochrome Set to it, indeed Harrington’s stringed adventure carries a touch of the English band’s guitarist Lester Square to it as a House of Love shimmer and Birdland like rowdiness add to the slavery.

Ice Age immerses the listener into chillier post punk climes next; its nippy atmosphere and almost bleak ambience tempered by the sonic elegance seeping from the guitar within the anthemic tenacity of the drums. Again it is fair to say that the song lures physical and emotional involvement with ease before Thinking Back explores a maze of reflective melodies and evocative grooves within another addictive rhythmic frame. There is an essence of Echo & The Bunnymen and Bauhaus to the track as post punk and gothic lit shadows and depths spread through sound and thoughts.

The track is an imposingly mesmeric end to a spellbinding release. Strange Weather will have you breathless, excited, reflective, and going on a myriad of imagination bred adventures with its suggestive incitement. We are no experts on deardarkhead and their releases to date but the EP has to be up there as possibly their greatest moment yet.

The Strange Weather EP is released March 25th via Saint Marie Records on Ltd Edition vinyl (100 Black / 150 White with Red Blue and Black splatter) and as a download @ http://saintmarierecords.limitedrun.com/products/567260-deardarkhead-strange-weather and http://saintmarierecords.bandcamp.com/album/strange-weather

http://www.deardarkhead.com/   https://www.facebook.com/darkheads   http://twitter.com/deardarkhead

Pete RingMaster 23/03/2016

Copyright RingMaster: MyFreeCopyright

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Horse Party – Horizons

Pic by Jeff Higgott

Pic by Jeff Higgott

Regular readers to The RingMaster Review will know we have enjoyed an on-going affair between ears and music with UK trio Horse Party ever since they emerged in 2012 and unveiled their first pair of songs in Clarion Call and Back To Mono.  Since then, as their sound and imagination has grown and evolved, each single, EP, and indeed debut album, Cover Your Eyes, has bred a lustier and greedier appetite for their post punk/indie rock seeded adventures. Now the Bury St Edmunds hailing band has a new album to excite and draw spotlights their way, and in Horizons, one suspects and hopes, the key to deserved major attention.

Horizons is a compilation of sorts; a collection of the tracks released by the band across 2015 through EPs and singles. For fans there is the added bonus of a previously unreleased track and for newcomers, Horizons is an A-Z to why Horse Party is for so many British rock ‘n’ roll at its inspiringly majestic best. Released via R*E*P*E*A*T Records, the album is a kaleidoscope of the imagination and dark yet vibrant sounds which the threesome of vocalist/guitarist Ellie Langley, vocalist/guitarist/bassist Seymour Quigley and drummer Shannon Hope weave into their songwriting and acclaimed live shows. The fact that the tracks are laid out in release order also reveals the growth in the band’s sound over the past twelve to eighteen months alone.

It opens with the two tracks which started 2015 off in major style as a 7” vinyl single. Out Of Sight is first and instantly entices ears with a dour yet flirtatious bass riff. From its first breath, the outstanding song prowls ears and imagination, a predacious air to bass and guitar leading the seduction as beats crisply land around the just as swiftly alluring voice of Langley. Though it broadens its expression and melodic touch, the song never loses its darkly hued and persistent beckoning, even as rawer rock flames accompany the new zeal and energy fuelling the vocals. With psych rock lighting adding to the potency, the track is inescapable anthemic rock ‘n’ roll which is quickly more than matched by Receiver.

The second track shows a fleeter foot in energy and rhythms, almost bounding into view as riffs jangle and entice around the just as thickly coaxing vocals of Quigley. A delicious nagging seeded in post punk and punk with a slither of noise rock to it, the song dances around the senses, only increasing its tempting as transfixing harmonies expose lust in an already eager appetite and hooks toy with an alternation of slim and inflamed bait. Like a mix of like Au Pairs, Joy Division, and Morningwood, the track is simply irresistible.

album cover by Kate Wood

album cover by Kate Wood

What I’d Do steps forward next, its strolling gait and intensity another reserved but vibrant beckoning with emotive hues lining voice and melodic enterprise. The steely tone of bass holds ears tight from within the hazy but openly textured song, its dark touches courting the melancholically evocative tones of Langley as well as the more sultry strains of guitar. A slice of psych/rock pop, the song has a Forever Still meets Stevie Nicks air to it, and easily casts its spell on attention before Horizons shares it’s more relaxed but no less provocative presence. Quigley again takes the vocal lead, his potent presence nestling compellingly within a landscape which uncages moments of tempestuous energy and sonic voracity. There is surprisingly a touch of The Housemartins to the song and indeed a whiff of Paul Heaton to Quigley’s expression though once more what emerges is a song as distinct to Horse Party as their name.

A brand new song in the shape of For All I Know follows and swiftly has ears engrossed and enjoyment stirred as a solemn mix of guitar and bass suggestiveness wraps the equally mellow vocals of Langley and the magnetic rhythmic enticement of Hope. It is another with fire in its belly though that is held in check for the main even with the thick nudges of Hope’s swings, the drummer as shown throughout the album, able to create anthemic incitement without disrupting the emotive flights of songs.

A hypnotic nagging steers Paydirt into ears next, its persistent jab of beats colluding with scuzz kissed riffs as minimalistic but potent grooves flirt. In full swing, the track is a bracing proposition which sonically sizzles whilst in its more mellow moments it is monotone sculpted romancing of the senses, and throughout, an addictive breath-taking stroll cast in dark emotions and predatory shadows. It just lights up air and ears, melancholy lined vocals a single seduction among many shared by the song before Animal similarly provides a rousing and compelling experience. As Langley’s almost challenging tones align with choppy rhythms, the track enforces quick submission to its expanding lures. Everything about the song provokes with aggressive intent yet only flirtation is felt as Hope harries and bass and guitars stalk and erupt. That tempting is especially arousing in the passage of surf rock seduction which has body and thoughts aflame in a moment, as echoed by the lyrics, which is like the glorious eye of an equally thrilling storm.

The acoustic hug of the darkly lit and captivating October enchants next, Langley alone and in vocal union with Quigley mesmeric within the blues expressed guitar before Money Talks saunters in on a scuzzy lure of riffs. Gentle slithers of guitar and catchy beats align with the initial tenacious draw and subsequently the siren-esque call of the vocals, it all finding extra drama in the occasional bursts of intensity which punctures the highly infectious persuasion.

Essences of noise rock and new wave creep into Rocket Science next; its canter a lively enticing within post punk shadows and blues lit sonic suggestiveness. Predictability is never an element within a Horse Party song, a point tenaciously shown here as volatile textures and energies engage with the outstanding encounter’s absorbing and seductive serenade.

Smouldering surf rock inspired melodies shape the beauty of Looking For Life next, the song an elegant and radiant shimmer of melodies and harmonies around resonating rhythms. It is a bewitchment of ears, a sonic smooching of the senses and quite delicious epitomising of another quality in the Horse Party creativity, that every listen just makes a song more compelling and impressive.

The emotive soothing of Howling At The Sun surrounds the imagination next, the twin vocal seducing as rich and dramatic as the brooding atmosphere and sounds around them whilst Gratitude Falling brings the album to a spellbinding close with its evolving tapestry of beguiling sound. From a single melody, the track courts a thick growl of bass and a sharp guitar jangle, going onto breed scuzzy expulsions of tempestuous sound whilst all the while Langley grips ears with her narrative and magnetic tones.

Horizons is simply one of the year’s musts; an essential invitation not only into the creative arms and charms of Horse Party but to one of the new breed destined to inspire the future of British rock ahead.

Horizons is released on download and CD on April 1st via R*E*P*E*A*T Records and @ http://horsepartyparty.bandcamp.com/

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

Pete RingMaster 22/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Ghosts Of Social Networks – Love Potion

art gosn_RingMasterReview

A dark seduction for the senses and a provocative adventure for the imagination, Love Potion is the debut single from UK band Ghosts Of Social Networks. It is not always easy to spark real attention with your first offering on unsuspecting ears, but the Manchester outfit certainly have no trouble with their magnetic fusion of post punk, indie rock, and neo-psychedelia.

Produced by Gavin Monaghan (Editors, Scott Matthews, Robert Plant, Paolo Nutini), the song is a dark tale of unrequited love and the use of alcohol as a way of getting close to someone. Embraced by a potent emotive exploration; its provocative narrative is more than match by thick waves of sultry and haunting sound which wash imposingly yet engagingly over the senses. With bold textures and lingering sonic caresses, the track openly bears the band’s inspirations from the likes of The National through to The Jesus & Mary Chain, with Echo & The Bunnymen the overriding scent especially when melodies and harmonies entangle and fuzzily smoulder in a fiery seduction. Despite those colours, the song reveals a distinct character belonging to the band, one which greedily enthrals as it sublimely slips into the psyche.

Love Potion is one half of an AA sided offering; its companion Mockingbirds, a similarly dark and provocative proposal looking at those imitating celebrity culture rather than carving out their own identity. The first side of the single is our first glimpse at Ghosts Of Social Networks though, providing a mystique soaked romancing of ears and imagination within a tempest of emotion and instinctive adventure from a band already suggesting they are going places.

Love Potion/Mockingbirds will be released digitally through all major sites May 6th on Integrity Records (INT 054).

https://www.facebook.com/GhostsOfSocialNetworks

Pete RingMaster 22/03/2016

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