Parachute For Gordo – Possibility of Not

Three years ago, British post rock trio Parachute For Gordo impressed with their mini album Ten Metres Per Second Per Second; its instrumental adventures increasingly captivating vehicles for the imaginations of band and listener alike. Now they have returned with its successor Possibility of Not and an evolution in songwriting and composing which had bred the band’s boldest, most bracing yet creatively composed escapades yet.

With new drummer Mark Glaister alongside original members in guitarist Laura Lee and bassist John Harvey, Aldershot hailing Parachute For Gordo escaped to the mountains of Austria for a weekend last year to record Possibility of Not. Whether the assumed isolation their DIY pop-up studio was set up in has been part of the incitement breeding the outfit’s most intimate and refined yet instinctively raw exploration yet only the band can say but certainly there seems a richer and thicker atmospheric depth and boldness going hand in hand with the threesome’s pushing of their creative boundaries.  Where Ten Metres Per Second Per Second was a leap on from debut EP Eight Minutes Of Weightlessness of 2012, Possibility of Not enjoys another step forward in all aspects without losing that organic brashness almost punk bred cacophonous heart which has already set their music out from the post rock incubated crowd.

Jellied Eels opens things up, its initial melodic shimmer a crystaline enticement like a window on a warm and inviting yet stark landscape. Whether it is the pre-knowledge of where the band recorded the album or the track itself, its post rock investigation only sparks thoughts of beauty strapped isolation and the intimacy of thought and emotion such surroundings can inspire. It is a mesmeric piece, that raw essence of the band’s music invasive to temper but equally compliment the sweeping grace of the melodic exploration being woven within it.

The following Anemone to Manatee has a more volatile and intrusive presence from its first breath but equally greater flirtation of joyful revelry in its energetic shuffle further accentuated by infrequent but welcome bursts of vocal incitement. With Lee’s guitar almost carving out its melodic portrait like a post punk steeled knife on canvas and Harvey’s bass going on a throaty groove lined dance as Glaister’s swings with each passing minute take greater relish in their jabs, the outstanding track tantalises from beginning to end; an emerging Fire Engines like discordance only adding to its might.

A mellower tone frequents next up Wallet Moth, every trait strolling with a lighter air as flames of melodic dexterity leave suggestive trails like reflection sharing comets. That previously mentioned intimacy is no more powerful than on the third track, it’s weaves of sound and textures magnetic glimpses into the song’s emotive heart before Gopher the Throat floats across the senses being driven by tribal beats and aboriginal like bass textures. Instantly absorbing ears and thoughts, the track is another dance of intimation and enterprise, the trio conjuring a piece of intrigue and adventure sure to be different for each individual but a creative emprise for all.

There is no escaping the fun and demanding stimulation of Cornholio Slaps the Goose, the track a funk assed, indie pop infused romp of swinging beats and infection spewing grooves unbridled in its hunger to have feet and hips indulging in its primal catchiness. Dips into dub spawned tenacity only adds to the virulent exploits toying and seducing the senses as the track grabs best track status though it is continually challenged with every listen of Possibility of Not.

The album is brought to an equally fine end by Put your hands up if you like Sloths, an eight minute plus saunter into imagined mysterious deeds inspired by its cosmic radiance and cinematic hooks. They grab ears and the imagination like a sticky web of lures rather than making a more imposingly direct attack but with the same inescapable outcome, the listener trapped and basking in its highly suggestive soundscape.

With their music Parachute For Gordo find a more insular terrain to explore than other post rock flights of imagination though certainly Possibility of Not breaks into broader challenges too but it is that more intimate feel which sets the band apart from most, that and their undoubted craft and maybe slightly deranged imagination. Accompanied by a video for each song which together provides a visual experience as potent as the aural one, Possibility of Not deserves plenty of your attention especially if post rock and bands like The Mars Volta and The Fall Of Troy are to your taste.

Possibility of Not is out now through Rose Coloured Records @ https://parachuteforgordo.bandcamp.com/album/possibility-of-not and http://www.rosecoloured.com/parachute-for-gordo

http://www.parachuteforgordo.com/    https://www.facebook.com/ParachuteForGordo/    https://twitter.com/parachutefgordo

Pete RingMaster 18/04/2017

Copyright RingMaster: MyFreeCopyright

Abel Raise The Cain – For Strangers Only

With a sound that wraps the senses like suggestive mist and a handful of songs taking the imagination on atmospheric, intimacy fuelled journeys, it is fair to say that the debut album from British rock band Abel Raise The Cain has been a highly anticipated proposition. Their fusion of evocative textures and energies within an indie pop/post rock nurtured landscape has made for an increasingly devoured and acclaimed live and recorded proposal, persuasion and success sure to be accelerated by For Strangers Only.

The album sweeps across the senses with a melodic breeze, each track an insight to emotion soaked lives and familiar situations. They swoop in on individual experiences, cinematic perceptions which if you put a series of kitchen sink dramas back to back would make the perfect soundtrack while stretching their intimacy to broader climes. Without a breath being taken, each song emerges from the last with just the whispers and glimpses of eclectic life between them, sometimes subtle reflections sometimes bold as “Dead Presidents, Revolutionary movement leaders and mixed up youth” bridge songs. It makes for a release which needs numerous plays to explore every alluring pasture and suggestive street corner but a simmering increasingly compelling blossoming which only brings increasingly striking rewards.

The 2012 formed, Northeast hailing Abel Raise The Cain draw on the inspirational sounds of bands like Arcade Fire, Sigur Ros, and The Editors for their adventures, open essences woven into their own canny tapestries. Both tracks of their debut double A-sided single, Too Late and The Promise, quickly drew eager praise and support including regular play on UK radio including BBC Introducing, the band continuing to lure plaudits and new ardour led fans with their successors; songs making powerfully persuasive teasers before For Strangers Only.

The album opens with Awakening, its orchestral welcome warm and descriptive as cinematic samples rise within its embrace. The short piece lives up to its name, opening the heart of the album with smouldering grace before freeing the equally seductive and euphoric flight of One Thing. With the romancing of Saerla Murphy’s violin cradling the engaging dusty tones of guitarist Sean Crichton as the keys of Gaz Murray float, the song is a vibrant outlook and stroll urged on by the tenacious beats of Adam Hicks.

Its anthemic and tenacious call is echoed within the following We’ll Never Know, the track swiftly revealing darker shadows around its radiant core. Within it, the bass of Gary Hughes manages to be simultaneously melancholic and flirtatiously welcoming as keys and strings come to a poetic boil in tandem with the melodic enterprise from Shaun Buckle’s guitar. The post rock climate of the song only grows across its length, consuming ears with wistful yet forceful intent before Black Swans bubbles to the surface. One of the singles sparking the eagerness awaiting For Strangers Only, the song brews its melancholy lined, heartbreak hued croon with craft and zeal, breaking into emotional crescendos as violin and keys respectively comfort and invigorate the spirit. Reminding a little of Doves, the song is superb, a cathartic release for band and listener alike.

The folkish air of Dark Side Of The Street keeps ears and imagination just as keenly hooked, the song a gentle but enthused canter sharing melodic and harmonic enterprise like sunshine. For some yet undefined reason, the song nudges thoughts of Pete Wylie before a country scented rural sigh slips into the similarly flavoured Million Dollar Night, a ruminative slice of balladry which may not quite light personal fires as other moments within the album but still leaves pleasure full, especially with an essence something akin to The Verve

Hideaway is a similar encounter with matching results; its country rock lilt and sultry smoulder a plaintive temptation breeding spirited expulsions across an expressive body. It also just misses persistently hitting the spot yet is one rousing experience impossible not to be drawn back to.

The album departs with the band’s new single, Every Rise. With hope falling from every note and harmony, the song is a thrilling end, a spirit igniting anthem of life with boisterous rhythms urging and melody rich flames licking at the imagination.

Each track is an individual exploration but For Strangers Only equally works like a symphony, each song a movement in its social and emotional tour. Certainly the first couple of listens are fine enjoyment but thereon in is where the magic happens.

For Strangers Only is released March 31st

http://www.abelraisethecain.com/    https://www.facebook.com/AbelRaiseTheCain    https://twitter.com/abelraise

Pete RingMaster 30/03/2017

Copyright RingMaster: MyFreeCopyright

Soundscapism Inc. – Desolate Angels

Cover artwork and booklet design by João Filipe, based on photos by Ü-Berlin Photography.

Cover artwork and booklet design by João Filipe, based on photos by Ü-Berlin Photography.

Desolate Angels is the eagerly awaited sophomore release from Soundscapism Inc., a highly anticipated successor to a debut which made a potent and well-received impact on the European post rock scene. The new offering is sure to emulate, indeed surpass the success of its predecessor with its even more accomplished, imaginative, and warmly haunting adventure.

Soundscapism Inc. is the solo project of Berlin based musician Bruno A., the founder of Portuguese/ Finnish bred band Vertigo Steps. When that band went on an unspecified ‘hiatus’, Bruno began bringing his own creative exploration to light with the release of the self-titled Soundscapism Inc. EP late 2015 quickly enticing ears and praise with its cinematic ambience, post rock climates, and acoustic beauty. It was more of an album with its nine captivating tracks and the base for the even more creatively expressive and magnetic Desolate Angels. The new evolution and craft in the project’s tapestry of sound and character was hinted at by a couple of tracks released from it towards the end of year but now in its full glory, it is a compelling proposal expanding well beyond their promise.

Swiftly as immersive and cinematically suggestive as the first release, Desolate Angels immediately caresses ears with Evening Lights. A guitar melody wraps its tender arms around ears first, additional lures warmly and firmly whispering before the track settles into an even mellower atmospheric landscape. Guest vocals from Flávio Silva subsequently emerge to add their captivating croon as Bruno’s guitar and keys weave a portrait of poetic post rock and ambient beauty. It is melancholy with a tempering charm and alluring tinges of harsher rock ‘n’ roll and quite bewitching.

The potent tones of Silva also feature on the following Supernovas At Fever Pitch, the song from another reserved opening firmly blossoming in sound and texture before his appearance, thoughtful melodies and an elegantly solemn yet again enticing air greeting him. From its initial simmer, an increasingly infectious energy and enterprise brews with a touch of Maybeshewill to it, this awakening bringing thicker wiry grooves and richer but restrained intensity to further ignite the track’s evocative heart. As the first track, it lures the imagination with ease, almost preys on it before The Mourning After pt II coaxes the listener into its relatively brief emotionally rousing instrumental waltz, subsequently leaving on a wash of melodic reflection.

Zwischenspiel I similarly draw ears into a melody persuasive romancing of thoughts and senses, its intimate seduction the echo of broader but also solitary pastures; an emotional closeness also found within the album’s title track where innocence feels shadowed by darker lurking trespasses. Touching the outskirts of ten minutes in length, Desolate Angels provides a flight of contrasting drama; dark and light toying with the imagination as Bruno conjures a soundscape of raw and equally radiant sound and suggestion which tempts like a fusion of  Sigur Rós and 65daysofstatic at times, his vocals an euphonious caress.

Through the inescapably infectious and constantly shifting stroll of Man In The Glass and the calm crystalline smoulder of Zwischenspiel II the individual presence and sound of Soundscapism Inc. is cemented, any hint offered by references to others like God Is An Astronaut for the second of this pair, just clues to something fresh and provocative.

The appetite pleasing voice of Silva makes its final appearance within next up February North, his voice a great mix of grainy and melodious temptation wrapped in the acoustic ethereal grace of Bruno’s touch and craft, essences just as refined and persuasive in the evocation spun by next up Quintessence around a narrative of vocal samples.

The album simply continues to bewitch and entice, firstly through the livelier exploits of Low-Fi Man, Hi-Tech World, the song a melody woven aural film with its rhythmic tenacity like the flickering roll of cinematic stills combining for a mesmeric visual incitement. Its striking presence is followed by the instrumental grace of Zwischenspiel III, it also a piece again with emotive shadows, and a short reprise of the title track before the increasingly beguiling Sleep Arrives Under Your Wings adds a surf rock glisten to its celestial beauty and resonance. The track is manna for ears and imagination, quickly followed by emotions and makes a magnificent close to the release though the evocative kiss of bonus track Above Us Only Sky provides the actual final moments of the album’s digital version.

There is plenty to take in aurally and emotionally within the hour of Desolate Angels, more than arguably can be assessed and appreciated in one go though perseverance in that vein only brings thick rewards. Each track works just as potently alone or in small clusters too so whichever way you approach it real pleasure and fulfilment is the result. Bruno and Soundscapism Inc. have stepped upon a new plateau with Desolate Angels with easy to suspect even bigger inventive and striking ventures to come from him.

Desolate Angels is available through Ethereal Sound Works now @ https://soundscapisminc.bandcamp.com/

https://www.facebook.com/soundscapisminc

Pete RingMaster 05/03/2017

Copyright RingMaster: MyFreeCopyright

Arcade Messiah – III

john-bassett-promo_RingMasterReview

This past week saw Arcade Messiah unveil its third album in as many years, each a November treat instantly challenging thoughts on best of year nominations.  III is a mighty continuation of that trend, a release where imagination might not be rampant in its title but in its kaleidoscope of suggestive sound and inventive flavours, it simply ignites ears and thoughts.

Arcade Messiah is the solo project of Sligo based songwriter/multi-instrumentalist/producer John Bassett, the founder and driving force of the outstanding UK band KingBathmat. It is a true solo effort with every detail the imagination, creation, and work of Bassett, all apart from the art of III which sprung from the craft of Michael Kerbow. Arcade Messiah has persistently taken ears through a myriad of sonic and powerfully evocative landscapes, pushing the union of creator and listener’s imaginations to new heights. III unsurprisingly is no different to its predecessor, exploring a new depth in textures and invention which just lights up mind and spirit.

To simplify things, Bassett weaves his music from the merger of everything from post and stoner rock to doom, sludge, and metal doom. It is still a narrow description of his sound which defies labels yet openly embraces inspirations whilst turning them into something inescapably unique to Arcade Messiah. Like a melodic siren with the growl and intensity of a bear, his instrumental endeavours to date have fascinated and consumed ears and mind alike; III as mentioned does not deviate from that success. It is though, the heaviest, most compelling and exhilarating offering from the man yet. Across six tracks, the album is creatively ravenous, melodically seductive, and often emotionally irritable and quite bewitching.

It opens up with Revolver, a prowling slice of heavy metal with an air of Sabbath to it which is soon entangling ears in a net of melodic and sonic intrigue. Rhythms barge through the maze of sound, imposing on the senses with poise and aggression as guitars weave their web. The first surprise is the sudden expulsion of vocals from Bassett, they more a texture than an attention stealer but carrying a clarity as ripe and potent as the cauldron of sounds around them. Simultaneously confrontational and welcoming, the track continues to disturb and beguile like a dramatic carousel.

It is a glorious start swiftly backed by the bestial presence of Citadel, a lumbering slab of crawling doom which looms up over the senses, submerging them in its sludgy tar before veins of melodic enterprise and emotive grace wrap around body and imagination. Dark and dangerous, alluring and captivating, the song gets under the skin and into the psyche; its aural scenery an irresistible adventure to navigate and explore.

arcade-messiah-iii-album-cover_RingMasterReviewAt over ten minutes, Deliverance is an epic proposal which devours time with its craft and magnetism. From a gentle opening as warm as it is melancholic with guitars and keys entwining with earthbound celestial beauty, the piece brews a darker side. Striding rhythms are the first deceptive shadow, again a sure invitation with a portentous edge though their threat merely simmers for its first third. Eventually though there is no holding back the energy and intensity of the skirting shadows, their fiery eruption the spark to a lava flow of melody and carnivorous energy. It is impossible not to get lost in the depths and suggestiveness of the track, the imagination casting its pictures and tales as the track continues to ebb and flow in touch and creative fire, perpetually burning its presence into appetite and spirit while captivating with its variety of attack.

It is impossible to pick a best track, all providing unique aspects and characters to immerse in, but the song certainly makes a highly persuasive argument as too its successor Life Clock. Washing over the senses with its space rock like atmosphere and fertile layers courted by the dark lures of bass and beats, the track is another femme fatale resembling encounter luring ears onto its ravenous rhythmic rocks and predacious intensity which lay in wait as the track builds its apocalyptic climax.

Once consumed, the song makes way for the Hades like realm of Black Tree; another predatory piece which stalks and infests with a seductive prowess as powerful as its acrimonious side, both having their moments to make their case across the outstanding trespass. Of course this and every track will inspire a scenario and emotion unique to the individual, one of the many glorious aspects of the Arcade Messiah tapestries.

III closes with the relative calm and peace of Sanctuary, though it too has tempestuousness to its heart and touch which only fires up the senses and imagination as Bassett casts another canvas of melodic suggestion, sonic rabidity, and all that lies between.

III is glorious, a riveting slice of aural alchemy which should not surprise considering the strength and prowess of its creator and predecessors but does at every twist and turn. Time to take another look at those End Of Year lists folks.

III is out now on Stereohead Records @ https://arcademessiah.bandcamp.com

http://www.arcademessiah.com   http://www.kingbathmat.com   http://www.johnbassettmusic.com   https://www.facebook.com/arcademessiah/

Pete RingMaster 30/11/2016

Copyright RingMaster: MyFreeCopyright

Defy The Ocean – Elderflower EP

DTO_RingMasterReview

Ignore the post rock tagging when seems to accompany UK duo Defy The Ocean as their sound is so much more than that. Well not exactly ignore as it is one prevalent texture within a proposition which commands attention but as their new EP Elderflower reveals, the band is as eager to embrace alternative and melodic rock as they are grunge and many fiercer flavours. It results in a sound which captures the imagination across seven intriguing tracks within Elderflower, songs which are a mix of sheer bewitchment and less dramatic adventures but all offering company that only firmly satisfies.

Defy The Ocean consists of vocalist/guitarist Chris Theo and drummer/guitarist Marcos Economides, a pair which met at high school and began jamming together at the respective fifteen and nine. Having gone their separate ways the duo reconnected and musically linked up again in 2009, Defy the Ocean emerging from their songwriting and playing. Their first two singles were released in 2010 with the Myopic EP unveiled late 2012; its well-received release followed by the single Gold & Green the following year.

Working on Elderflower since then, Theo and Economides have pushed their sound to another level, weaving soundscapes of dramatic textures within melancholic atmospheres coloured with matching emotions. Equally they have drawn on more virulent forms of rock to add an inviting catchiness which whether subtle or forthright is another potent draw on ear and imagination.

The EP opens up with Rest, a sombre introduction sharing its shadowed heart through the first melancholy hued strains of guitar. As more creative detail appears, the song comes to life, its emotive intensity as dark and troubled but shaped by melodic suggestion and graced by the excellent vocal harmonics of Theo. Ebbing and flowing with energy and raw emotion, the track grips ears, seizing the imagination as forcibly in less than three minutes of striking enterprise.

elderflowercoverart_RingMasterReviewThe following Veil equally opens in calmer sorrowful waters, wrapping downcast yet vibrant melodic strands around ears as a dirtier bass line walks the shadows bringing a portentous air to the blue but radiant captivation. Along its body, the track continues to grow in layers and ear snatching textures, as with the EP as a whole needing numerous listens to appreciate the levels and nuances making up an ultimately enthralling body with increasing impressiveness following every venture into its riveting downcast landscape.

The EP’s title track comes next, casting a theatre of emotion and sound with essences of bands like Tool, Pelican, and Grenouer in its tempestuous landscape. Both Theo and Economides entangle each other’s enterprise and technical prowess, rhythms a rousing often destructive element as sonic adventure links up with rawer trespasses for one infectious tempting.

Brine follows with its own thick canvas of dramatic sound and emotional turbulence, Theo vocally emptying the song’s heart as the guitars cradle his dejection. Again it is beguiling stuff if at times lacking the last few sparks that lit up its predecessors, though to be fair there are moments it radiates like a creative sun to dynamically pleasure the senses before Vessel soulfully caresses ears with its atmospheric despondence and warm understanding. The most adventurous track so far, it transports thoughts into exotic places over time, always sharing compelling emotion and an understated yet powerful catchiness which just as potently fuels the impressive tones of Theo and his and Economides’ invention.

The piano bred instrumental of Poisoned leads into final track Bones, its brief heavyhearted beauty the appetiser to the woeful and epically shadowed closer. With moments of melodic clarity and stormy intensity, all swept across by the vocal and harmonic elegance of Theo, the last song is emotional turbulence within a musical tempest and quite beguiling with greater command on the passions with every listen.

Within Elderflower, Defy The Ocean merges recognisable essences and textures with their own stirring invention. It makes for a masterfully powerful release becoming more striking with time shared.

The Elderflower EP is out now @ http://music.defytheocean.com/album/elderflower

https://www.facebook.com/defytheocean/

Pete RingMaster 20/10/2016

Copyright RingMaster: MyFreeCopyright

Astral Cloud Ashes – Too Close to the Noise Floor

Album Art_RingMasterReview

With three attention grabbing and imagination sparking singles under the belt, Astral Cloud Ashes unveil debut album Too Close to the Noise Floor. It is a collection of songs which arouse and serenade the senses, often simultaneously as the project’s mesmeric songwriting and emotive melodic elegance seduces.

Astral Cloud Ashes is the new project of Jersey bred songwriter/musician Antony Walker, previously better known as one half of the Channel Islands hailing Select All Delete Save As. Having already created music under the name ALPA, amongst other monikers, Walker quickly sparked attention to his latest project last year with first single Too Close To The Noise Floor, the now title track to the new album. Primarily a solo project but with backing vocalist Jason Neil a permanent fixture in the band, Astral Cloud Ashes draws on inspirations ranging from The Cure, Bloc Party, Interpol, At the Drive In, Mars Volta, and Say Anything as well as flavours bred in indie and alternative rock/pop. Equally though, the album shows bold ventures into more progressive and post rock pastures without losing the instinctive catchiness and melodic romancing found in those earlier propositions.

Mixed across its tracks by Gareth [The Fold], Edd HartwellPaul Miles, Daniel Szanto,  and Walker himself, with the mastering undertaken by Tim Turan, Too Close to the Noise Floor opens with The Man I Had To Become. Instantly a temptation of bubbling guitar captures ears, the coaxing quickly joined by a wave of rhythmic jabbing and a thicker weave of melodic guitar and harmonious vocals. It is a gentle yet boisterous affair easily whipping up the imagination and spirit with Walker’s distinctive tones the mellow flame within a more combustible web of enterprise. It is a great mix which marked those early singles but already seems to have blossomed within the album into a more adventurous and confident entangling of the listener.

The great start is followed by the album’s title track, Too Close to the Noise Floor showing a rawer, more imposing energy as it takes the imagination into the intimacy and adventure of cosmonautics but equally involves “family values and unwanted first-world paranoia” in its energetically hugged theme. Punching its rhythmic and contagious essences home, it also carries a hazy climate to its atmosphere with the bass a deliciously throaty lure amongst nothing but virulent temptation. Embracing a XTC feel and Melvins like revelry, the track has body and appetite eagerly involved in swift time.

Grateful for the Ghost In Our House steps forward next and as the last track showed a more formidable presence to its predecessor, this song reveals a fiercer predation to its opening and subsequent invention within another wash of suggestive melodies and smouldering dynamics. Though not in the actual sound, it is easy to see where an influence of The Cure comes into play, Walker creating an emotional and musical drama which has the senses riding a roller coaster.

Recent single Get Real follows, strolling along with the ever present catchiness which Walker conjures with seeming ease across every track. Guitars pop and bubble throughout the song as rhythmic tenacity creating an anthemic frame to the vocal and melodic ingenuity before Flashback takes over. A calmer and mellower engagement but even more emotively forceful, the song caresses ears with a lone guitar melody before being joined by a heavily shadowed bassline aligned to a broader floating melodic enterprise. Vocally, Walker provides an introspective narrative as provocative as the poetic almost volcanic fuzziness of his guitar. Adding another individual shade and hue to the album, the track shows the broader landscape of Walker’s songwriting and an intimacy, whether personal or observational, which fuels his words.

With drummer Max Saidi guesting, Avant Blah! strolls boldly in next, its lo-fi pop ‘n’ roll blending Weezer infection with Pavement-esque invention while its successor Lites almost lumbers into view in comparison with the brooding bass and irritable riffs to the fore. In all songs there is a great repetitious quality brewed by Walker, here almost coming over drone like to great effect around the solemn melody and the similarly melancholic vocals. As it expands though, a wave of rich textures and rousing energies flood the song, returning throughout the low-key yet thickly enjoyable, almost imposing encounter.

The excellent This Once Great Place has an air of The Cure again with its atmospheric landscape, reminding of the A Forest/Pornography era of the trio across its own captivating journey before the equally impressive Housing in a Bubble makes a grab for best track with its more punkish/grungy roar of sound. Everything about it has a snarl not heard on the album previously; revealing more of the diversity the release carries whilst stirring up a fresh greed in ears and pleasure.

Our Holiday brings Too Close to the Noise Floor to a sombre and enthralling close, the track initially a dark sigh but soon building its own catchy canter loaded with spiky hooks and spicy melodies around another slightly foreboding and compelling bassline. Once more thoughts of Robert Smith and co are sparked but again as a flavour in something individual to Astral Cloud Ashes. It is a riveting end to a striking and increasingly impressive first album from Walker.

The clues to the project’s potential were there in its first trio of singles, and now confirmed and partly realised by Too Close to the Noise Floor. The feeling is that there is plenty more to come and to be explored within that promise, and going by the strength of this thoroughly enjoyable offering, we are all in for many treats ahead.

Too Close to the Noise Floor is released July 11th @ http://apple.co/1RFvoL8

https://www.facebook.com/astralcloudashes   https://astralcloudashes.bandcamp.com/   https://twitter.com/AstralCloudAsh

Pete RingMaster 08/07/2016

Copyright RingMaster: MyFreeCopyright