Mean Motor Scooter – Mr Sophistication

Photo by Greg Gutbezahl

As a viral infestation continues to consume the world we suggest there is a second outbreak imminent this time in the delicious contagion of the insatiable sound that the Mr Sophistication EP unleashes. The record is the new offering from US outfit Mean Motor Scooter, a release which could be no more seductively sinful and soul enslaving than if the Devil had cast it whilst holidaying amongst the vixens upon Planet Venus.

Hailing from Fort Worth, Texas, Mean Motor Scooter has insistently lured attention and acclaim through the likes of their 2017 uncaged debut album, Hindu Flying Machine, and last year’s EP, TV Baby. Though new to the band, if we are honest, hindsight listening reveals exactly why they have gripped keen local and national support and a further deluge of listens to Mr Sophistication can declare that the quartet has bred their most essential moment yet with.

The band’s unique sound is distilled in a bedlamic liquor of garage rock and punk with surf and psych rock stilled froth. Its character lustfully springs belligerent mischief upon the ears as its exploits chop away at the senses whilst urging the body to dance. It is a proposition which swiftly and urgently infested our musical instincts and desires through EP opener Aristobrat.

Immediately Sammy Kidd’s guitar swings through air, its riffs a compelling cleaver to the senses quickly followed by his just as magnetic vocals and the equally gripping rhythmic antics of bassist Joe Tacke and drummer Jeffrey Friedman. With the temptress backing vocals of Rebekah Elizabeth escalating the temptation as she enterprisingly fingers keys, the song lustfully got under the skin in no time, breeding an even richer unshakeable contagion through its subsequent riot of a chorus. Like something akin to a meltdown between The Scaners, Escobar, Jay Reatard and The Vibrators but with attitude stamping down unmistakeable individuality, it is an addictive start for the EP and a dependency which only escalated thereon in.

The Void quickly fed our craving, its opening hook alone enough to have us twisted up in its bait before the song followed it up with vocal and rhythmic manipulation which bordered on pandemonium. Kidd again is the ringleader to the creative disorder, his words bitch slapping the world as Friedman’s beats pummel the senses with unscrupulous dexterity. With punk and garage rock textures colluding with surf harmonies and frenzied melodies, this too is a song which had us in drooling fixation; Portals soon drawing further lust as it unveiled its surf rock breeding within a warped psych rock atmosphere. Luring and seducing with every breath, the track tangling the imagination up in its psychotic twists and increasingly volatile breath.

Zombie Cop is visceral pop within a cosmic soundscape bullied by punk rock tempestuousness and simply gripping from the first to last second of its exhausting two minute carnal stomp before leaving Put Me Down Like a Dog to spring a just as riveting finale on ears. A psychobilly riff chained the appetite first, its melodic clang instant manna to these ears and soon backed by a broken blister of lo-fi trespass; a feral captivation again infested by the seductive haunting of Elizabeth’s keys. That initial mutant groove continued to centrally vein the track, everything swinging from its incessantly hypnotic hold as the sonic maelstrom around it discharges just as irresistible slavery.

Untamed and ravenous, it is an energy sapping, pleasure igniting end to an EP even more voraciously intoxicating with every element and song united. The world is under siege again but this time only good if debilitating times are set to devour courtesy of Mean Motor Scooter.

Mr Sophistication is released May 1st via Dreamylife Records: available @ https://meanmotorscootersounds.bandcamp.com/album/mr-sophistication

https://www.meanmotorscootertx.com/   https://www.facebook.com/meanmotorscootermusic   https://twitter.com/MnMtrSctr

Pete RingMaster 02/05/2020

Copyright RingMasterReview: MyFreeCopyright

Mayflower Madame – Prepared For A Nightmare

photo by Sven Santelmann

Through the striking propositions found within their debut album of 2016 and a following EP, it is fair to say that eager anticipation for the release of a new album from Norwegian band Mayflower Madame was fired up upon news of its release, one only accentuated by a recent single taken from the ten track encounter. It was an intrigue and hope which has been quickly replaced by sheer pleasure as Prepared For A Nightmare is one of the most captivating and hauntingly fascinating pleasures of the year so far.

That first album, Observed in a Dream, shared a sound which bred from a fusion of post-punk, shoegaze and psychedelia hungrily gripped and fed our ears and imagination. It proved a compelling proposition which the following Premonition EP in 2018 only echoed as it built upon the prowess and strengths of the previous release. In turn Prepared For A Nightmare has taken the potent attributes of those before it and evolved them into its own impressive strengths and temptations and indeed a real uniqueness which was may be not quite there on its predecessors. Without distilling any of the cold shadows and apocalyptically hued romance and intimation which has made their music in sound and character so compelling to date, there is a warmer dare we say slightly poppier aspect to the new album and one which has only accentuated the rich imagination and breath of the Oslo hailing trio’s sound.

Prepared for a Nightmare opens with its title track, a shimmer of light drawing attention as a darker hued sonic sigh lures the subsequent full body of rhythmic incitement and melodic intimation to emerge. It is a weave of almost menacing psych rock temptation and crystalline suggestion, the guitars of Håvard Haga and Trond Fagernes spinning strands of sonic luminosity across rhythmic manipulation. With Fagernes’ vocals an equally magnetic draw and, in the first of two appearance within the release, Petter G. Marberg’s bass a heady tenebrific grip on the senses, the track was swift and inescapable captivation.

Recent single, Vultures, is next up to be quickly followed by its successor in Swallow. The first of the two tracks similarly entices with a lone lure, a guitar suggestively teasing ears before the virulent gait and enterprise of the track erupts to join its persuasion. The senses nagging beats of drummer Ola J. Kyrkjeeide alongside Fagernes’ moody bassline were swiftly under the skin, the latter’s tones again a thick lure into the kaleidoscopic beauty of the track. Yet there is a predatory edge to it all which grips just as firmly, post punk rhythms and steely grooves colluding with spiralling psych guitars and harmonic vocals to escalate the guileful nature of the song.

The second single opens with a percussive clipping of the senses aligned to a delicious intrigue woven hook; its intimation alone a rich lure of espionage and flirtation soon taken up by the darker hues of bass and the melodic entanglement of guitars. A warmer hug comes through the synth of Kenneth Eknes who features across numerous tracks within the album, the song a calmer engagement compared to those before it but again the organic volatility within the band’s sound adds to its drama and adventure; its energetic infectiousness sparking thoughts of Modern English as its psych/shoegaze nurtured enterprise hints at the likes of Jesus & Mary Chain and House Of Love.

The instant rhythmic drive of Ludwig Meidner had us greedily hooked, the quickly surrounding smog of melodic and vocal insinuation building the fascination until the song is a thick almost concussive but invigorating engagement. The dark grumble of the bass is delicious alone; its post punk inclinations an infection to which the band only add further virulence in voice and sonic endeavour while the following   Never Turning (In Time) breeds a tenebrific seduction from its cinematic opening which enthralled as it subtly devoured. The track proved pure temptation, a dark haunting again where beauty and jeopardy collude.

Across the equally sinister Sacred Core and the crepuscular romance of The Night Before a form of addictive captivation with Prepared For A Nightmare only grew closer; the first of the two bordering on the radiantly nightmarish as the second seduced with its own Gene Loves Jezebel hued serenade while Goldmine straight after illuminates a shadow hungry dance-floor with its animated but still rapaciously intense trespass. An electronic effervesce underlines the denser touch of the song yet everything about the drama and opaque climate of the track is inescapable catchiness.

A Future Promise is another where dark intrigue oozes from every note and syllable, guitars and bass alone weaving a darkly intimating theatre within the brighter dye and optimism of the keys. As with all tracks the imagination is fuelled with an adventure to build upon, ears soaked in a bewitching sound setting Mayflower Madame apart from the rest as finally endorsed by album closer, Endless Shimmer; a song which gently radiates upon the senses as it enraptures ears and thoughts.

It is a bewitching end to an album which had us embroiled in its tantalising breath and creative web from start to finish and with greater lust by the listen; Mayflower Madame surely casting a lure to major attention.

Prepared For A Nightmare is out now digitally via Only Lovers Records @ https://mayflowermadame.bandcamp.com/album/prepared-for-a-nightmare with its vinyl and CD release on May 15th in collaboration with Portland’s Little Cloud Records and Parisian label Icy Cold Records.

https://www.facebook.com/mayflowermadame   https://www.instagram.com/mayflowermadame

Pete RingMaster 23/04/2020

Copyright RingMasterReview: MyFreeCopyright

Eyemouth – Cut

We will admit straight away that we are not sure if our words can do justice to and truly convey the creative realm and dark majesty which breeds the sound of Swedish band Eyemouth but they can certainly reveal the striking and thrilling effect their new EP had on ears and the imagination.

The Cut EP is quite simply superb, an adventure into the compelling world of one of the world’s truly unique propositions. We first came across and were seduced by the rarefied invention of Gothenburg hailing Eyemouth through their third and fourth EPs, Noera Genesis and The Flood. Each provided a journey into the unknown as captivating as it was disorientating, a creative adventure continued through debut album A Newly Planted Grain in 2017 and the Spiral EP two years later. We shamefully admit we managed to miss both encounters and can only say it has to have been to our major loss going by the magnificence of Cut.

Eyemouth consists of Marcus Lilja and Joakim Åberg, the band deriving in 2014 from the demise of Estrange and includes Dark Abstract in its member’s history. As suggested it is hard to accurately expose the creative palette to the Eyemouth sound. There is an electronic breeding which entangles with classic, atmospheric and psychedelic nurtured rock as well as a dark folk and occult scented imagination at play but that still only conjures certain aspects of a sound at a new high within the new Eyemouth offering. With four tracks making up its body, each a tale in sound, word, and intimation, Cut is pure fascination which entangles ears as it dances with the imagination; emotions just as easily caught in its dark and at times demonic embrace.

The EP begins its captivation with A life of its own, the track emerging on a sonic shimmer which within a few breaths is already casting a sinister edge to its atmospheric expansion. The magnetic presence of the band’s vocals is as potent as ever, again a harmonic dexterity accompanied by a more primal fringe. As the sonic winds build, a compelling cacophony of sound and suggestion brews, darkness a cloud of emotive intimation within the rich array of diverse ethnic instrumentation, including the bagpipes of Per Stjernkvist, making up the fixation.

Stay quiet is all there is to it follows, shaman drumming enticing attention with controlled but magnetic resonation as again darker hues erupt and interrupt the track’s emerging climate that itself tenebrific. Similarly vocals bring a fusion of shaded and darker intimation. All the while, the track wormed into the psyche like a hungry threat to eventually brew and erupt in a throbbing infestation aided by the guest drums of Håkan Aspnäs, before folk lilted vocals accompanied by an infectious canter rise up within the senses enveloping atmospheric corruption.

Both tracks are sheer captivation for ears, attention and a premise evoking imagination; all swiftly seduced again by At the opening of the gate. Stygian hues once more immediately challenge thought, the declaration of vocals soon escalating the creative weave as melody kindled and electronically summoned sounds share virulent flirtation. With those vocals just as magnetic and another spectrum of instruments colouring the instinctive imagination, the song simply enslaved and in quick time, emerged one of the best things heard here in recent years. As within every track, every second brings a seed for unpredictable enterprise and pleasure with every syllable another spark for the listener’s thoughts.

The album closes out with To open up the skin, a Tartarean glimpse upon the real world seemingly under scrutiny and manipulation of otherworldly protagonists. Melody and harmony unite in a warm comforting hug within a portentous sonic incantation, the crepuscular atmosphere darkening and becoming more leaden and overwhelming until the final melodic sigh.

It is a magnificent end to a glorious release which again we suggest is like nothing you will have explored before. Eyemouth have teased and warranted the biggest attention for a far while now, the Cut EP now demands it.

Cut is out now; available @   https://eyemouth.bandcamp.com/album/cut

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

Pete RingMaster 18/04/2020

Copyright RingMasterReview: MyFreeCopyright

Innadaze – Self Titled EP

Innadaze_RingMasterReview

As great as it is receiving potential releases to write and shout about via labels and PR companies there is something extra alluring when it is the artist themselves who get in touch whether by choice or necessity. Such it is with UK outfit Innadaze who recently requested a little attention for their new self-titled EP. Offering four tracks of the band’s quickly revealing individual psych grunge sound it was an introduction and moment of exploration which proved richly rewarding.

Bradford based, Innadaze emerged in 2018, formed by guitarist/vocalist Enzo Annecchini, drummer Billy Lockwood and guitarist Daniel Greenhalgh. With its line-up soon completed by bassist Ato Leo Ame, the band released debut single Wild as Love soon after, a song as potent at drawing new fans as their live shows around Bradford, Leeds, Manchester, and Liverpool across 2019 and indeed a subsequent demo EP. February of this year saw their new EP unveiled and a quartet of tracks which captivated as they wormed under the skin and almost aggressively consumed the senses.

The band’s sound is an alluring fusion of grunge, psych rock and shoegaze, an even mix which maybe hints at others in certain times but going by the new proposition has a certain individuality which again only tempted attention. EP opener, Totally Insignificant, quickly establishes that presence and the rich breath of the band’s music. Immediately bold rhythms and heavy riffs descend on ears; additional teases of guitar lining up intrigue as the song eagerly emerges with grunge bred instincts. Already there is a thick contagion to the proposal, hooks and twists aligning to further lure ears, Annecchini’s alluring vocals bringing that more shoegaze/psych nurtured texturing to the song. It is a seriously rousing affair but one further lit up by melodic dexterity and a host of imagination themed hooks and turns.

It is a tremendous start only matched indeed slightly eclipsed by next up Beyond The Sky. It too grabs ears with a robust and muscular proposal from the off but quickly wraps it in melodic and harmonic enterprise. Again there is an unpredictability to twists and imagination which does not erupt in something voraciously unconventional but ensures every moment comes with open adventure and intrigue. As with all tracks there is a great almost drone like quality to it too which nags away at ears and appetite just as potently as the band’s tenacious and united enterprise.

The similarly outstanding Duress Excess similarly provides an incessant tempting, its core lures buzzing at the senses as rhythms pounce and grooves bound ears in intoxicating almost toxic enticement. Caustic and corrosive in some ways, seductive and seriously arousing in just as many, the track is a controlled yet feverish slice of feral rock ‘n’ roll again proving irresistible to these ears.

The EP concludes with You See Me, a gentler and calmer consideration for the senses still bred in the band’s psych/shoegaze nurtured instincts. Though the song did not quite ignite the passions as its predecessors, with its melodic landscape lit with fuzzy sonic fires and set across a rugged rhythmic setting, the track only fascinated from start to finish.

Innadaze is a band which deserves checking out and their EP one which warrants keen attention. Given the chance it is hard to imagine either will incite anything else.

The Innadaze EP is out now.

 https://www.facebook.com/innadaze.music/

Pete RingMaster 29/02/2020

Copyright RingMasterReview: MyFreeCopyright

Engine Summer – Back-Street Boys

Suckers for idiosyncratic hooks, irregular rhythms, and drone back grooves which nag their way into the psyche, it was inevitable that the new EP from Chicago hailing trio, Engine Summer, would have us dangling from its aberrant antics and warped imagination like a dysfunctional puppet and lusting after every second time and time again. Back-Street Boys is manna to the anomalous freak in us all; a collection of tracks seeded in the deviancy, irreverence, and contagion of the finest post punk, psych rock, and indie eccentricity known to man but a gathering breeding the kind of uniqueness which keeps us lustfully lost in the grip of music.

Consisting of Jeremy, Benny, and Ry, Engine Summer formed in late 2016 and quickly made a potent mark on the Chicago live before venturing further afield with two tours of the East Coast. Sharing stages with the likes of for Ra Ra Riot, Bodega, Acquaintances, and Baked along the way and a pair of EPs as well as their debut album has only cemented their reputation for creating apologetically catchy but maverick songs which linger long after their arrival. Back-Street Boys is the successor to their acclaimed Indiana EP, one “piggybacking off” their 2019 Dion Lunadon of A Place to Bury Strangers mastered predecessor to breach a whole new plateau of Engine Summer pleasure.

Their new offering is bookended by the band’s previously released singles, Carol’s Dead and Night School, an entrance and departure which is worth the effort of digging into Back-Street Boys alone. The first of the two more taunts than invites attention with its initial resonating throb of bass and lure dangling guitar but with the same impossible to ignore intrigue at its core. As tenacious beats increasingly swung their manipulative bait and the band’s twitchy vocals united in a just as lively and devilish static dance on the ears, the track enslaved as it stomped around with irresistible dynamics and attitude. Teasing with essences reminding of bands such as Gang Of Four, Artery, and The Fall across its more forceful individuality, the song is glorious and one of the best tracks of the past decade.

Night School similarly proved why its great success as a single, its stroll less boisterous but just as persuasive as nagging chords and persistent rhythms aligned to orchestrate instinctive movement and further hunger for their atypical exploits, Each are feasts for any with a post punk and krautrock nurtured appetite and fair to say that in between, the two tracks the enticement proved just as addictive and galvanic.

Suds follows the EP’s first track, quickly laying out its own web of spiky hooks around motion chivvying rhythms. Like a hybrid birth in a contorted fusion of The Fire Engines, Swell Maps, and We Are The Physics, it like its predecessor had us wrapped around its sonic finger before Under the Sea leapt in with an indie pop dance within a psych punk cage of compulsion to equal have us drooling.

Groovin’ on 63rd marries the renegade of eighties post punk with a similarly aged new wave devilment before embroiling it in the band’s freak bred imagination, a garage punk breath only adding to its funky disposition while Likes saunters along with a meandering Melvins-esque smile to effortlessly worm under the same skin its predecessor had already breached.

Completing the line-up is Spice Boys, a psych pop serenade as sublimely infectiously in its harmonic charm as it is in its darkly contrasting rhythmic canter. Adding yet another shade of imagination and flavouring to the release, the track seduced as it coerced; its intoxication epitomizing the fascination and distinctive enterprise which makes Engine Summer one seriously hypnotic band and the Back-Street Boys EP their finest moment yet.

Back-Street Boys is available now @ https://enginesummer.bandcamp.com/album/back-street-boys

https://www.enginesummer.com/   https://www.facebook.com/enginesummer/

Pete RingMaster 27/01/2020

Copyright RingMasterReview: MyFreeCopyright

The Orange Kyte – Carousel

With two rather well-received albums under their belts, Irish-Canadian psych-garage rockers The Orange Kyte have already revealed an individual sound as rich in its variety as it is fascinating in its character. Even so with loose ends connected and its web of adventure extended it is an evolving exploration of enterprise which has now come to a head in new album Carousel.

The Vancouver outfit’s fusion of garage and psych rock with shoegaze and indie inclinations again breeds the tracks making up Carousel but each stands as an individual enticement as much a pop protagonist  as a rock incitement with many more flavours embraced in their fairgrounds of curiosity and adventure. From start to finish, the album dances with the body whilst taking flight with the imagination, its touch dirty and voice haunting but at its core a body of rock ‘n’ roll revelry.

Founded in 2016, originally as a solo project by Dublin hailing singer /songwriter/guitarist Stephen White (Magic Shoppe, ex- Strange Things and Ireland’s House of Dolls), The Orange Kyte inspirations include the broad likes of The Velvet Underground, Syd Barrett, Graham Coxon, The Byrds, Primal Scream, The Who, Death in Vegas, CAN, White Fence, Spiritualized and Super Furry Animals as well as psychedelia and krautrock in general. Many are essences which immediately flavour the heart and endeavour of Carousel as revealed by opener Masquerade!

The instant jangle of Mat Durie and White’s guitars immediately enticed keen attention as rhythms pounced, the psych flames of Matty Reed’s sax only intensifying the tempting. From its first breath quickly after, the song’s stroll is an eager bounce, the animated beats of drummer Dave Mulvaney as encouraging as the dark swing of Pierce Kingan’s bass, it all wrapped in the just as infectious hug of Durie’s keys. Together the ingredients made for a virulent and addictive enticement, one as rousing, bordering on the rowdy, as it was dark and invasively provocative.

The Modern Day Saints follows with a slightly more tempered gait but one again as contagious as the melodic warmth and enterprise making up its infection. As in all songs, Whites tones are a dream coated lure of temptation and lyrical observation within a web of tenacious sound while every element of the track hit the spot with Chris van der Laan swinging the sticks this time, the sax again especially potent before Distractions springs its melodic gossamer upon drum machine beats to beguile and haunt the senses. There is a House Of Love breath to the track at times which only adds to its psychedelic thought and irresistible seduction.

A rapacious appetite comes with the creative promotion of C.O.P., the controlled but boisterous persistence of the song again utter contagion even as vocals and melodic invention continually evolves and accentuates its ear gripping body while the following pair of Little Death Balloon and Demonstration Garden with their respective groove bound captivation and drone scented serenade similarly seized keen ears, the former a glorious slice of the band’s sound and imagination bound in one of the album’s major highlights with its successor, as all tracks, no lightweight in thick enterprise and temptation.

The R/B spun garage rock canter of Infinity Rope equally had attention in the palms of its transfixing surf coated hands to emulate the success of the tenacious garage pop antics shared by Sea Of Love / Ocean Of Hate before it , a constantly growing track again fusing psychedelic and pop exploits in a moment of creative manipulation.

The Chris van der Laan produced Carousel closes with the stripped down offering of Downfall, a sinking into sonic smog as inviting and evocative as it is disturbing and disorientating, and finally the sixties pop lined garage pop of Captain Ron. Both songs echo the diversity of the release, the band’s sound, and the inescapable lure of the creative fertility behind it all.

Carousel is a real joy, a ride of enterprise which effortlessly got under the skin whilst announcing The Orange Kyte one of the leading lights in the next decade of garage/psych adventure.

Carousel is out now on 12″ pink vinyl from Little CLoud Records (US/Canada) and Cardinal Fuzz (UK/EU) and digitally @ https://theorangekyte.bandcamp.com/album/carousel

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

Pete RingMaster 14/01/2020

Copyright RingMasterReview: MyFreeCopyright

Morning Bells – Fall From The Velvet Sky

photo by Susan Sage

From its evocative title to the intimacy of its heart bred lyrics alone, the new EP from US indie rock outfit Morning Bells makes for a richly alluring proposition and bound in just as provocative and arousing sounds Fall From The Velvet Sky quite simply proved one richly compelling encounter.

Hailing from Raleigh in N. Carolina, Morning Bells began with the creative union of drummer Bryan Fransman and long-time friend, vocalist Ric Denton. Swiftly the emerging band grew as bassist Laura Weislo was enlisted by the duo with in time guitarist Emory Ball and keyboardist Peele Wimberley completing the quintet. Their sound is said to embrace inspirations ranging from Johnny Marr, Television, and The Gun Club to The Smiths, Yo La Tengo, David Sylvian, and Talk Talk alongside for us upon their first EP a certain R.E.M. scenting.

In saying that, the opening track of Fall From The Velvet Sky has a thick dark creative breath which reminds of Scottish band, The Filthy Tongues. The initial melodic glisten of Ghost Story is soon descended upon by emotive shadows, keys and rhythms united in their gothic intimation even before Denton shares his equally suggestive tones. The psych rock breath of those keys continues to light the haunting embrace of the song, its reflective stroll a prowling instigator on ears and imagination.

The track is superb remaining our favourite moment within Fall From The Velvet Sky with relative ease though its companions like the following Through The Dark are no less potent in their captivation and creative incitement. As its predecessor, the EP’s second track immediately enticed keen attention with its first melodic touch, guitar and keys swiftly engaging the senses before the shadowy lure of rhythms and Denton’s ever magnetic tones and words escalate the enticement. The bewitching serenade of the song simply had us hooked before The Truth Is matched its success with its own absorbing temptation. Pop and rock traits entangle within the captivation woven and addiction bred, thick fascination spawned in the web of sound and voice.

Next up, The Night You Touched My Hand shares an eighties indie pop seduction in its melodies and nineties rock rapacity, a fusion further invigorated by volatile urgency and touches with the result another track which just got under the skin and had us hooked and involved in swift time.

The EP concludes with Tonight; a track which maybe did not quite match up to its companions yet had ears eagerly held and our pleasure in full flow as Fall From The Velvet Sky completed its beguiling adventure. It is a release which quickly and increasingly impressed and aroused, thoughts soon relishing the band’s own imagination us eager anticipation blossomed for the next fresh creative resonance from Morning Bells.

Fall From The Velvet Sky is out now; available @ https://morningbellsband.bandcamp.com/album/fall-from-the-velvet-sky

https://www.morningbellsband.com/   https://www.facebook.com/morningbellsband   https://twitter.com/morningbells2

Pete RingMaster 04/01/2020

Copyright RingMasterReview: MyFreeCopyright

Tombstones In Their Eyes – Maybe Someday

photo by Cathryn Farnsworth

With a healthy clutch of heavy praise bearing releases already under their belt, Los Angeles hailing indie psych rock outfit Tombstones in Their Eyes have just unveiled their new album; a release destined to eclipse all before in acclaim and success. It is a feeling simply hard to escape as the album smothers the senses in its swampy and rousing, enveloping and seductive textures, and one which intensifies with every compelling listen.

The band’s sound is almost suffocating as it surrounds ears with its spatial bound, haze clouded fusion of psych rock and shoe gaze within post rock seeded soundscapes. Each track within the Paul Roessler (Nina Hagen, The Deadbeats, The Screamers, 45 Grave) recorded Maybe Someday provides a dreamscape of suggestion around a sonorous wall of intimation and all go towards making the new Tombstones In Their Eyes full-length one fascinating and invigorating exploration.

From its opening breath, Maybe Someday began surging under the skin, the stormy entrance of opener Open Skies rich in threat and intimation. Those hues only thicken as the sonic flames of guitarists John Treanor and Josh Drew ignite the subsequent melodic stroll of the song, one instantly catchy and captivating with the equally magnetic vocals of Treanor in full sway within its canorous winds.

With a touch of Spacemen 3 meets My Bloody Valentine meets Birdland to it, the track makes a rousing start to the album which its outstanding title track quickly accentuates with its calmer but no less hypnotic proposition. The rhythms of bassist Mike Mason and drummer Stephen Striegel hit their manipulative stride from the off, inciting song and listener alike as the vaporous  keys of Treanor echo the harmonic resonance of his voice and the guitars. As the first, it is an infectious almost invasive temptation sparking only an appetite for more which I Want You feeds with its somnambulistic serenade. Flirtation lines its melancholy as radiance wraps its melodic reassurance, individual craft and enterprise accentuating all of its haunting beauty as the album spots another irresistible moment in its still short but already impressive presence.

Shadows cast potent intimation upon the following soul searching Today while Down in the Dirt bears a grungier side to its character while circling the senses with its own individual psych rock nurtured squall as voice and words bear their hearts. Both songs expel mesmeric charm from start to finish, each sharing their unique imaginations before The Demon manages to eclipse both their striking exploits with its surf kissed, self-refection bred rapture and beauty.

Through the muggier climate of Behind My Mind and the similarly intense crawl of The One, Tombstones In Their Eyes brought new dramatic shades to their album’s evolving landscape and thicker pleasure to ears, the latter verging on the predacious as harmonic radiance sweep turbulent mercurial skies. Among many major moments within the release, the song especially stands out before I Believe leaves its infectious mark on the album’s imagination permeating body. As with all tracks drama accompanies craft and imagination, this song especially potent with this mix.

I Can’t Feel It Anymore saunters through ears as it draws the listener into its ethereal embrace, keeping itself grounded with dark and heavy textures to compliment the seducing with the following Up and Down providing a seductive kiss on the senses whilst weaving a post rock nurtured terrain of barb carrying textures.

As it began, the album leaves gripping hold of attention through final track Dreams. Its synth pop opening has a Visage scented breath to its electronic mist from which intimacy soaked shadows and rock grounded volatility brews. The song is pure mesmerism, evolving note by note to never let the listener assume or the imagination settle as it brings a simply spellbinding album to a truly thrilling conclusion.

Maybe Someday is out now via digitally and on limited edition CD through Somewherecold Records; available at https://tombstonesswc.bandcamp.com/album/maybe-someday

https://www.facebook.com/TombstonesInTheirEyes   https://twitter.com/tombsinthreyes

Pete RingMaster 12/12/2019

Copyright RingMasterReview: MyFreeCopyright

The Gaa Gaas – Self Titled

There is no sense of understatement when we say that the debut album from UK outfit The Gaa Gaas has been one long awaited and highly anticipated release, to the band as much as fans, but now finally here there is no sense of an anti-climax in its arrival and triumphant presence.

We admit we have been hooked on The Gaa Gaas sound since discovering the Jersey hailing, often Brighton/ London based outfit over a decade ago, the band itself emerging from the imagination of vocalist/guitarist Gavin Tate and co in 2003 after meeting at a garage punk club night called ‘Bomp’ in St Helier, Jersey. Subsequent singles, EP’s and live shows across the UK and Europe have only brought greater acclaim by the year and richer reputation by the creative escapade but as all artists know it is a perpetual struggle to realise the next step or ignite greater attention. The Gaa Gaas have met all obstacles and hold ups with resistance as the years have sneaked by but the determination to release their album and breach major spotlights has now found its moment with the latter of the two surely to deservedly follow.

The Gaa Gaas sound is as individual in its character and enterprise as it is unique in its voice. It is bred on the nutrients of post punk, punk, psych rock, noise and much more but as suggested emerges as its own senses menacing, imagination seducing sonic virus. From within a drone enlivened nagging, hooks bite with creative rabidity as rhythms tease with serial killer like intent. That alone proves an irresistible trespass but add the infernal melodic toxins which the band just as easily conjure, it all makes for one rapacious addiction which is no more enjoyable and compelling than within their self-titled debut album.

The album opens with Close Your Eyes, a lone strum of guitar providing a lingering scent of sonic jeopardy from within which a rhythmically swinging clamour bursts. Instantaneously it is a contagious affair, the bass of Jamey Exton leading the rhythmic infection further driven by drummer Stewart Brown’s bold strikes. The sonic smog escaping Tate’s guitar smothers as it seduces, his vocals dancing with almost contempt on the wires within that enveloping incitement. Resistance to the track’s bounce is non-existent as the track manipulates limb and spirit alike, a glorious start to the release firmly declared.

In its own Bauhaus hued architectural landscape, Statues proves just as gripping, bass and beats setting a virulent lure as guitar and vocals express their twisted psych breath upon industrial and post punk honed intimation. Tate’s keys are just as invasive and animated as the ravening sounds escaping his guitar, the track as magnificent as its predecessor and indeed the following V.O.L.T.A.I.R.E. A track we devoured years back, it is still as powerful and irrepressible now, from its first citric sighs through the rhythmic stroll which invades every instinct to move, and the tart melodies which wrap its pure contagion, the song devours ears and appetite like a swing loaded creative plague.

The Type Of Mood is just as insistent in its groove and infection, the keys of Peter Hass a tangy sweetness in the more caustic but no less tempting commotion expressed by Tate’s guitar. Again there is a vocal eighties post punk air to the track, a cold nostalgic din given greater depth and adventure by The Gaa Gaas’ senses trespassing imagination while the ever rousing Hypnoti(z)ed provides a less intrusive but equally as overwhelming and manipulative not forgetting delicious incitement. The bass of Ali Cooper is at its core temptingly harassing as beats bite and Tate’s vocals holler, everything off kilter and bewitching like an especially devious cobra before it strikes.

C.U.T.S. is built of the same devilment, every aspect niggling at the senses and each strand of its web crawling under the skin before unleashing its predacious rabidity and sonic fermentation. Drowned in its tide and blissful in its maelstrom, the track just had us lost in our own physical and emotional eruption before The One Eyed Stranger took ears and imagination on a stroll through dark avenues of enterprise and addiction. The sax of Luke Georgiou lights the way with delicious drama, its enterprise echoed in the tones of Tate and the persistently swinging rhythms of Cooper and drummer Matt Maguire. Once more Bauhaus come to mind in many ways across the track and though there is no real comparison to The Gaa Gaas’ sound, Pete Murphy and co are the closest to give some inkling of its identity.

In the 2018 version of Entertainment which graces this release, punk rock is the fuel to its discontent and creative agitation, the track biting back at a landscape as prevalent now as any previous time as the beats of Maguire take lethal pot shot. It is a song which in its early writing hints at the eventual wonderfully nagging quality of the band’s sound which is fully employed by next up Perception within its scuzzy senses haunting, habit forming rapture.

The album concludes with Indian Giver, a beguiling psych rock nurtured instrumental as potent on the imagination as it is the ears. There is a Cure like scenting to the track, especially in its rhythmic saunter, and dour breath which manages to be as radiant in beauty as it is dark in suggestion. It is a fascinating and enslaving end to a release which even with our already in place eager expectations of pleasure left us basking in richer joy, invasively impressed, and expecting the band to finally find deserved recognition in far broader and intense spotlights.

The Gaa Gaas album is out now on Movement-2 Records; available @ https://thegaagaas.bandcamp.com/album/self-titled-album

http://www.thegaagaas.co.uk/   https://www.facebook.com/TheGaaGaas   https://twitter.com/The_Gaa_Gaas

Pete RingMaster 05/12/2019

Copyright RingMasterReview: MyFreeCopyright

Wizard Rifle – Self Titled

Like a sonic devil they tempt your pigeonholing and defining of their sound and with the same Mephistophelian glee side step every attempt with their infernal webs of sound. They are Oregon rockers Wizard Rifle and their latest album epitomises their devilish conjuring of creative deception. Their self-titled offering also provides one of the most rousing and thrilling encounters of the year. Their sound is punk, sludge rock, psych and thrash punk, noise rock, metal and much more besides in one cacophonous temptation; quite simply it is feral rock ‘n’ roll and across forty four minutes pure contagion.

Emerging in Portland in 2009, Wizard Rifle are no newcomers to high praise as their electric live presence, which has seen them share stages with the likes of The Melvins, High On Fire, YOB, Lightning Bolt, Bongzilla, Buzzov*en, Black Cobra, and Church of Misery, over time has been accompanied by two well-received full-lengths in Speak Loud Say of 2012 and Here in the Deadlight two years later. Now the duo of guitarist/vocalist Max Dameron and drummer/vocalist Sam Ford are ready to take on the world with a release which embraces the building blocks of its predecessors and shapes a proposition which defies convention, relishes devouring expectations, and sets out its own unique agenda in virulent noise.

Rocket to Hell ignites the babel of sound devouring the senses from with the album though there is no confusion in its creation and enterprise. The opener teases from its first breath with the plucking of guitar strings, the gentle lure the persuasive deceit before the ferocious babble of sound momentarily waiting to erupt. And break out it does with ravenous intent; the pair’s united vocals as harmonious as they are untamed as around them sonic squalls casts melodic and sonic temptation as raw as it is virulent. The track continues to infectiously nag as it rapaciously ravages, that tempest of flavours previously mentioned blended into a predacious trespass strapped with the keenest of hooks and salacious grooves.

As discord and melody craftily entangle it is a glorious incitement and matched by that within the following Cevaman Waltz. Rhythms prowl as a chugging guitar goes eye to eye with instincts, a devious grin lining rapid grooves and an epidemic of infection while equally compelling vocals ride its hungry currents. Again it is a mix which nags and harries but with less voracity than its predecessor though that is replaced by a pressure of urgency which only accelerates by the minute until erupting in a cyclone of wild and fertile commotion with those original grooves still steering the greed for the band’s invention.

A Celtic spicing infects the compelling landscape of next up Beneath the Spider, its emprise a tapestry of rabid intent and collected melodic dexterity spun with craft and imagination. There is a great manipulation to the Wizard Rifle sound, its hooks and grooves an infestation of the body as melodic irreverence grip the imagination and no more inescapable and powerful than within the eight minutes making up this slice of potent incitement.

The next twelve minutes plus comes in the shape of Funeral of the Sun, the closing cyclonic tempest of the previous track reaped of its incessant sonic persecution by the opening bait of its successor. Dangling acidic guitar lures it entices and then devours in swirls and expulsions of creative ruthlessness and barbarity but an assault which is pure untamed catchiness. Similarly vocals harmoniously invite and venomously bite before the progressive heart of the track emerges to just as potently seduce. The tide of noise cannot be abated for long and it returns but with a much more melodic breath. Pure fascination exudes the track, which never suffers in its length, as pleasure floods ears before it.

V concludes the release, psychedelic seducing radiating from within its intrepid venture of sound and ambition. Seductive and fierce, subtle and bold, the track provides an unpredictable multi-textured furnace of flavour and captivation.

Wizard Rifle’s album is a glorious contradiction; it is animatingly wild yet cleverly composed, boldly untethered but chained to distinct imagination and craft. It is also another of the year’s major pleasures which should see the band burst beyond previous boundaries of attention.

The Wizard Rifle album is out now via Svart Records; available @ https://wizardrifle.bandcamp.com

https://www.facebook.com/wizardrifle/

Pete RingMaster 06/09/2019

Copyright RingMaster: MyFreeCopyright