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

The Likkor Men – There Will Be Blood

There is something primal stirring in the depths of the UK rock scene, a lascivious force brewing up filthy attitude stained rock ‘n’ roll which is salacious and destructive, rabid and addictive and it goes by the name of The Likkor Men. The quartet from Redcar has just released new EP There Will Be Blood, a carnal beast of a release infesting the psyche as sonically it tries to live up to its declaration, and a fear breeding proposition it is truly hard to get enough of.

Formed in 2014 supposedly to “keep the members out of trouble”, The Likkor Men create a ravenous sound which is hard to pin down but openly corrupts everything from blues, garage, and punk rock to industrial, noise, and psychedelia. Most likely an introduction of the band to a great many, There Will Be Blood is their second EP but easy to feel the moment The Likkor Men asylum comes under true scrutiny.

The release instantly has the senses challenged with the outstanding Black Widow, noise and samples colluding to tenderise before heavy footed riffs stroll hungrily in as swinging beats bite. Blues grooves entangle the trespass as vocals prowl, a punk throated backing adding to the pleasure as the controlled chaos twists and turns. There is something of The Birthday Party meets Th’ Legendary Shack Shakers as Down fingers the union about the infestation but equally more than a whiff of bands like The Sonics and MC5 in the swamp of sound and dirt though what emerges is a scuzz storm all Likkor Men.

The opener remains the pinnacle of the release but is seriously harassed throughout with next up Young Blood needing little time to seduce and pervert ears and imagination. Ravishing the senses like a defiled fusion of Rob Zombie, Arthur Brown, and The Stooges, the track is wired rock ‘n’ roll as off-kilter as it is skilfully woven to invade and trespass the psyche. Deceptively catchy it is aural loco, a ruinous psych rock invasion infecting the listener like radiation.

Crazed easily applies to Sweet Talkin’ Mamma too, a sexual corruption built on the most addictive rhythmic strolls as fuzzy flames and toxic grooves like spewed by the pied piper like trespass. It is sonic bedlam, an insatiable lure of noise and rhythmic flirtation which maybe is a touch over long but teases and seduces from its depraved start to its libertine finish.

That sexual edge is taken to greater tension within closing song, Hunter. It is a nagging throb of rhythms and heavy riffs beneath sonic breezes of guitar. From the midst, gravel throated vocals, as throughout the EP, stir up the dirty business around them, grooves and hooks seeming to react decadently around them though everything is in its basest most single minded form to simply incite the listener’s rock ‘n’ roll instincts. Sixties garage rock is a rich fuel to the final assault, its contaminated strains sweet liquor within the soiled goodness.

There Will Be Blood will not be for the clean cut appetites among you but for those with wanton urges for rock ‘n’ roll in its grubbiest invigorating form no-one will be left wanting, only feeling very, very dirty.

There Will Be Blood is out now through Moon Skull Records @ https://moonskull.bandcamp.com/album/there-will-be-blood

https://www.facebook.com/TheLikkorMen/

Pete RingMaster 15/09/2017

Copyright RingMaster: MyFreeCopyright

Bernaccia – Awake

Bernaccia_RingMasterReview

British neo-psych rockers Bernaccia has perpetually caught ears and expectations by surprise with their insistently magnetic fusion of psychedelic mystery and desert blues atmospherics driven by tribalistic rhythms. Indeed across EPs and singles, the Newcastle band has grown into one of the UK’s most compelling propositions, beguiling and seducing with their dark and often cinematic rock ‘n’ roll. New single Awake though has arguably provided the biggest and admittedly most flavoursome twist yet with the ear catching addition of vocalist Ellen Chetcuti to the band’s ranks.

From their 2014 released Cinema EP, the foursome of vocalist/guitarist Jonny Noble, synthist Stew Falkous, bassist Kieran Healy, and drummer Chris Cox has persistently and increasingly lured attention and acclaim with their fascinating darkly lit psych/melodic rock explorations. Equally their live presence has only reinforced the potency of their emergence as shows with the likes of Royal Blood, Lola Colt, Alabama 3, The Fall, Twisted Wheel, CUD, and Wolf People have come and successfully passed alongside the release of impressive proposals like the heftily acclaimed Light//-//Dark EP and last single Power To The Hills. The well-received track was the band’s most intense and dark tapestry of sound and imagination yet and now more than matched by the brighter lit but just as rousing and immersive Awake.

Keys caress ears initially as a percussive shuffle dances with the imagination. Swiftly the unexpected and quickly embraced voice of Chetcuti slips in. Listening to a release before doing research, especially in regard to a band already well known, can often catch expectations out, and here the presence of the band’s newest member certainly provided a rewarding surprise. In no time, Noble’s familiar dark tones step forwards alongside Chetcuti’s, synths rising with suggestive and exotic flames around their alternating and merging persuasions as ears and thoughts are quickly entangled in the song’s thick and shadowed drama. Drenched in similarly immersive atmospheric smog, the track reveals great blues and at times eighties new wave enterprise, playing like a mix of My Baby, Jingo, and King Trigger whilst emerging as another unique Bernaccia adventure.

Increasingly anthemic and spirit rousing with each one of its inciting minutes, Awake is a new step in the gripping rise of Bernaccia. Why the band’s dark and often sinister romances of body and imagination have not made then a name on the lips of multitudes it is hard to understand but maybe Awake will be the spark to tempt the broadest spotlights that the band deserves.

Awake is released April 8th via iTunes and other stores.

Upcoming Live Shows:

April 8th Club Fandango Presents – The Old Blue Last – London

April 28th TS ONE – Middlesbrough

April 30th Sawmill Sessions – Darlington

May 7th The Polar Bear – Hull

May 21st The Mining Institute – Newcastle

https://www.facebook.com/BernacciaMusic    http://twitter.com/bernaccia

Pete RingMaster 28/03/2016

Copyright RingMaster: MyFreeCopyright

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Rosenthal – Heart EP

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Managing to sound invitingly nostalgic and refreshingly new, the Heart EP is a captivating full introduction to Rosenthal, a Danish band already drawing a healthy buzz around themselves. Consisting of five tracks which can be described as being bred from a merger of new wave, dream pop, and shoegaze with a psychedelic colouring, the band’s debut EP is an intriguing and increasingly enjoyable embrace for ears and imagination.

Rosenthal is the brainchild and project of Copenhagen-based songwriter and producer Jeppe Kiel Revsbech. Last year saw the release of two singles, both Lashes and Afraid of Stairs sparking keen attention and enthused reactions to the band’s presence and sound. Now fresh off their successful first UK tour, the band is set to reinforce and push forward again their emerging presence in a wider arena with the Magnus Vad produced Heart EP, and with Ask Kjærgaard (guitars) and Kasper Nyhus Janssen (drums) alongside Jeppe Kiel Revsbech (guitar, keyboards, vocals), Rosenthal is continuing 2015 in fine style.

The EP’s title track starts things off and sets an early pinnacle for the encounter. The resonating yet earthy bass tone which opens the track is alone an instant irresistible persuasion. It has the same dark flavouring which gave depth and potent shadows to the early sounds of The Cure and equally Joy Division. In no time guitars add their minimalistic but expressive colour too whilst the floating vocals of Kiel Revsbech glance over ears like Green Gartside of Scritti Politti. The emerging melodic elegance of the song is a radiant hue, uniting with the mellow and sizeably infectious air of the song to incite an eager appetite in response. It is a fabulous start to the release, mesmeric yet holding a slight agitation which only adds to its compelling presence.

The following April Eyes has a lighter and airier breath to its bouncy energy and presence. From the off melodies are caressing ears whilst the bass toning again carries a dark shade to its otherwise less heavy tempting, both courted by an imagination and unpredictability throughout which sees the song easily slip from its energetic stroll into a reflective calm. This peaceful passage though is soon at the centre of a brewing emotive and sonic tempest, a brooding climate which never erupts but certainly brings an edge and drama to its landscape.

The acoustic charm of the brief instrumental An End to the Trial comes next, the stringed caresses of guitars an evocative spark for the imagination before Void wistfully seeps into ears and thoughts, again guitar expression the leading colour. Its folkish, provocative simplicity makes the perfect canvas for the similarly reserved yet vibrant vocals. It is a simmering sunset of sound and emotion but as darker hues add their tints it evolves into a tempestuous atmosphere of dark alternative pop. From a potent start it grows into a bewitching proposal for ears and thoughts, spicy hooks and tangy melodies expelling mouth-watering noir bred temptation. The song is an enjoyable slow burner but grows even more thrilling in its latter climatic stages.

The closing A Dream is like the first song, one seeded in the post punk and dark pop of previous days whilst casting its own fresh character of sound. Resourcefully bred from a New Order/Bauhaus seeding, dark wave shadows ignite the passions instantly whilst the emerging Billy Momo like folk charm and Cocteau Twins like ethereal melodies, simply absorb and accentuate the whole unique adventure. Keys also add suggestiveness to the mix, an OMD spicing working within their poetic ambience. It is a tremendous song and end to the EP, Heart bookended by its best two tracks but with plenty to eagerly embrace in between.

As the final song slowly drifts away it leaves ears and thoughts keen to immerse once again in the Rosenthal sound. Heart is not exactly going to bowl you over with listen one but it lingers, luring the listener back time and time again, a rich success in any one’s book.

The Heart EP is available now via Afterimages via most digital stores.

https://www.facebook.com/rosenthalsite

RingMaster 10/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

 

The Permanent Smilers – One Real Big Identity Crisis

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One Real Big Identity Crisis, the new album from UK band The Permanent Smilers, is a release with no apparent direction or framework to its intent and enterprise; a release which basically lives up to its title but boy is it a slab of irresistible fun. Through thirteen songs, band and album take on a torrent of different styles and nostalgic flavours which really should not work alongside each other as coherently as they do, and all come with a humour and mischief which adds to rather than overrides the adventure of the individual characters. It is slightly deranged but not chaotic and thoroughly unpredictable yet not messy considering the vast sounds employed from song to song. Most of all though it is simply a compelling proposition which comes from left-field, keeps its heart there, and leaves the most enjoyable experience in its wake.

There is little we can tell you about the band itself, though The Permanent Smilers is fronted by Richard Lemongrower who was the songwriter behind Norwich band The Lemongrowers, a band releasing two albums on Noisebox at some point in time. Produced with Jonny Cole and mixed by David Pye, One Real Big Identity Crisis takes little time in lighting ears and imagination, though it opens with maybe its weakest song. That is a little misleading as it takes a song to get a handle, or try to, on the release anyway but certainly Identity Crisis did not really grip attention as much as elsewhere and left thoughts with a slight wondering of what have we got ourselves into. Strongly swung rhythms and similarly intensive riffs clasp ears within the first breath of the song, their bait a jabbing lure against the unpolished yet engaging tones of Richard. It is an easily flowing and energetic slice of rock ‘n’ roll with the bass of Jonny Cole pungent bait at the centre of the stomp. Truthfully there is little wrong with the song but it lacks a spark in its presence which evades the reaction it probably deserves and is easy to imagine being found with others.

The good if unsure start is soon a thing of the past as Uh-Oh takes over with its festive folk swagger and emerging carnival like devilment. Sporting a splash of Tankus The Henge to its relaxed but vibrant stroll, the song is a constant swing of melodic hips as it moves towards an unexpected and mouth-watering slip into a Dukes of Stratosphear like ethereal psychedelic charm and climate, returning back into festive mood soon after as if it had just emerged from a dip in the sea. The song is fascinating and bewitching, and just the first of numerous adventures into different landscapes, as shown next by the punk pop devilry of You Know Where To Go. Bred from seventies power pop and carrying a mix of The Flys and The Lurkers to its hookery, the song just hits the sweet spot with its insatiable energy and mischief, before making way for the more relaxed melodic embrace of Elastic. The keys and guitars of Richard weave another enthralling web of sound here, this time with a sniff of sixties pop to it which is punctuated by the crisp beats of drummer Pete Fraser and dark bass lures of Cole. By its close, the song somehow becomes a thumping anthem without losing any of its melodic and gentle elegance, a potent feat for any song to offer.

Both Just No Good and It Doesn’t Work Anymore keep album and ears bouncing with energy and pleasure, the first using a garage rock spicing again teased by a sixties almost Doors like toxicity, whilst the second again spawning from the same kind of seeding brings a rawer punk grouchiness with its presence. Each has feet and emotions joining their rigorous coaxing before Ghosts allows a breather for the body if not the imagination with its Simon and Garfunkel meets Burt Bacharach like embrace. The brass persuasion of Dave Land seductively flames over similarly captivating keys and vocal caresses through the song but as always there is a scent of devilment to the song with thoughts wondering at times if they should be enjoying this as much as they are. There is no escaping its thick charm though.

The next pair of songs brings a rich sense of XTC to their enterprise and persuasion, Rebel broadening that over time with a seventies kissed soar of progressive fuelled psyche rock whilst its successor, Voodoo has the stamp of Andy Partridge to its flirtatious pop and virulent enterprise. The pair leaves nostalgia glazed lips licked and, through the latter especially, ears basking in psyche pop of the most delicious kind complete with jazzy brass and funk spirited unpredictability.

You Know When To Go dives straight back into punk infused rock ‘n’ roll for its brief but sparkling instrumental before Unforseen manages to conjure an encounter which recalls the quirky indie pop of The Monochrome Set and the plainer but no less tasty essence of Tom Robinson. The song alternatively stomps and swirls around ears, every passing hook and melody it conjures an intriguing and quaint yet voracious tease before it moves off into the distance allowing the outstanding See Through You to make its lingering mark. Acoustically shaped with an avalanche of panzer gun delivered rhythms, the song initially is a smouldering and majestic sway of sound. It subsequently explodes though into a tempest of energy and revelry which only lifts a great song to a heady plateau. Imagine the volatile energy of De Staat at their most devilish with the epidemic hunger of eighties punk/power pop and you get a sense of the glorious treat.

One Real Big Identity Crisis closes with the acoustic lullaby of Sleepyhead, the album ending as it started with a track which does not catch the ardour triggered elsewhere but certainly graces ears with tantalising propositions. This album is one unexpected and seriously enjoyable adventure; not breaking down boundaries or venturing into the unknown but never providing a moment when you are not surprised or wrapped up in its refreshing simplicity woven by skill and invention. There is only time left to lick lips all over again as we close off and dive straight back into The Permanent Smilers’ irresistible arms, something we suggest you do too upon release.

One Real Big Identity Crisis is released in April via IRL Records with new single Identity Crisis out in March.

http://www.thepermanentsmilers.com/   https://www.facebook.com/pages/The-Permanent-Smilers/1539697962929725

RingMaster 23/02/2015

Copyright RingMaster: MyFreeCopyright

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

SeaWitches – Stars

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

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

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

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

Stars is available via The Label Recordings from 16th February

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

RingMaster 1602/2015

Copyright RingMaster: MyFreeCopyright

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

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Brain Pyramid – Chasma Hideout

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As impressive debut albums go, Chasma Hideout from French psych rockers Brain Pyramid is right up there amongst the most enthralling and scintillating propositions. The seven track sonic exploration is a transfixing adventure of ear bending, mind warping psychedelic revelry, but one equally bred on the finest stoner rock grooving and experimental mischievousness. At times it feels like one massive glorious jam but throughout there is an enterprise and inventiveness which just as potently leaves senses basking and passions greedy. If the album is your introduction to Brain Pyramid, be prepared for one ruggedly spellbinding ride.

The Rennes band was formed in 2012 by guitarist Gaston Lainé and drummer Baptiste Gautier-Lorenzo drawing on inspirations from the likes of Led Zeppelin, Hendrix, Sabbath, Motorhead, and Blue Cheer alongside those of Kyuss, Sleep, Nebula, Earthless, and Orange Goblin. Last year’s well received Magic Carpet Ride EP put ears and attention on notice but now with bassist Ronan Grall of Huata alongside the founding duo, Brain Pyramid is ready to really stir things up with their thrilling offering.a0031606373_2

The earth bound spatial adventure is started by Living in the Outer Space, a country twang and kick over of a truck engine the lift off to a groove driven flight through sultry skies and flaming sonic landscape. Instantly riffs draw a raw canvas framed by an unpredictable rhythmic incitement. It is a compelling coaxing but it is the similarly unpolished vocals and senses entwining grooves which brings the strongest colour to the contagion. A flirtation with a noir wrapped jazzy seduction provides a new twist of pleasure before the fiery surface and enterprise of the song re-establishes a forceful and gripping presence. Continuing to surprise and enthral, the song is a sizzling and immersive treat but only the beginning of the fun.

The following Lazy instantly unveils its funk seeded heat and tenacity, the lure bubbling with relish and energy the more the song reveals itself. Grooves and rhythms make a flavoursome embrace whilst the bass with its throaty temptation offers intriguing shadow soaked hues. It is a roaring blaze of melodic and sonic toxicity, the song worming under the skin through the excellent slightly deranged craft of Lainé and the irresistible heavy stoner-esque stroll of the track. Its success is soon surpassed by the even hotter creative breath and climate of Landing on the Pyramind. Soaked in tenacious and intensive blues flavouring, the song twists and entwines ears with serpentine agility through scorching grooves and another deliciously imposing bass tone. It is a big boned temptress with all the moves and invention to enrapture anyone with a lust for dirty riffs, thunderous rhythms, and caustic sonic beauty.

The pair of Lucifer and Twin Headed Giant provides strong individual temptations, the first a mesh of lumbering intensity and sci-fi noise which leads into a smouldering psychedelic wash of sinister persuasion. This in turn slips into something ferocious and fiery, heavyweight riffing and destructive beats punctuating burning grooves; The Doors meets Orange Goblin and Desert Storm if you will. Though it does lack something compared to its predecessors, the track’s dark demonic texture and presence leaves ears enthralled before its successor draws on even stronger seventies psychedelic and heavy rock inspirations to cast its pulsating and pleasingly raw mind-bending adventure. Guitars and keys radiate hallucinogenic sonic colours aligned to a warped imagination whilst rhythms just as voraciously impose upon and stalk the psyche with the gripping cleaner vocal delivery.

  

The song is a fireball of sound but even its qualities and potency cannot match up to the album’s pinnacle, Into the Lightspeed. The instrumental is sensational; an impossibly addictive and infectious stampede of hooks and grooves bound in another seemingly organic and improvised majesty. Its opening is a riotous almost chaotic coaxing which flirts with disaster as eagerly as the senses before settling into a gloriously robust and hungry swagger of rhythms from Gautier-Lorenzo. Every swing resonates through to the bone even when Hammond-esque keys wind around its spine with taunting relish and the bass of Grall adds its own irrepressible throaty resonance. Spicy grooves and deeply rooting hooks are no strangers either as the piece continues to grow and increase its enslavement on ears and emotions. The track is a mind-bending, thought twisting journey and quite brilliant.

   Chasma Hideout sees its title track bring its triumph to a close. Flowing out of the previous track, its celestial exploration proceeds to soar across an expansive melodic and cavernous ambience, guitars and bass slowly swaying with evocative radiance and imposing enterprise as the good ship Brain Pyramid fuels its flight with a transfixing creative sonic illumination. The song leaves listener and album on a high, its energy and incitement continuing to increase with every second of its creative hunger and technical urgency.

The track is a captivating end to an awe inspiring release. Managing to impress and offer more with each and every listen, Chasma Hideout is one of the year’s real treasures and Brain Pyramid a band destined to leave psychedelic rock aflame now and ahead.

Chasma Hideout is available now via Acid Cosmonaut Records @ http://acidcosmonautrecords.bandcamp.com/album/chasma-hideout

https://www.facebook.com/brainpyramid

RingMaster 02/10/2104

Copyright RingMaster: MyFreeCopyright

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Pale Fires – Mammoth EP

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Taking little time to excite but increasing its psychedelic seduction with every listen, the Mammoth EP from UK psych rockers Pale Fires, is a tenacious little offering which just does not let go even after it physically departs. With flirtatious hooks, transfixing melodies, and raw sonic temptation, the release grows from a flavoursome warm proposition into a glorious shimmering blaze over time whilst its creators show themselves to be a prospect to breed real anticipation over for their subsequent growth.

Formed in 2010, the Camden quartet of vocalist Leo Runswich, guitarist Oli Swan, bassist Harry Wreathall, and drummer Jean Stevens has built an eagerly followed presence across London and beyond, igniting audiences across venues such as The Cavern Club, 93 Feet East, The Purple Turtle, and Scala with their explosive set. Their EP Louring Skies earlier this year has equally wowed acclaim and support but it is with the Mammoth EP that a sense of something about to break for the band is truly inspired. It has a festering potency which as mentioned makes a strong first touch but continues to expand and enslave over time through six tracks which are as enthralling as they are fuzzily striking.

Opener River simply cups ears in a rhythmic enticing to set release and attentive appetite in motion before laying out a gentle scuzz lit stroll of guitar aligned to bass bred shadows and the distinctive tones of Runswich. Into its stride the song swings with a gentle melodic sway whilst guitars turn up the sonic heat in between the vocal coaxing. Runswich has a voice somewhere between Boy George and Brian Molko and increasingly impresses as song and subsequently EP immerses ears and imagination. There is not a real fire to the first song, at times missing the spark to ignite as expected, yet it is a smouldering temptation which dances with ears and passions for a highly enjoyable start to Mammoth.

The following title track offers a heavier toned bass coaxing from the off, its throaty bluster inciting a greater fiery breath in the guitars and their intensive sonic designs wrapping the excellent track. That wind relaxes for Runswich’s vocals Cover Art2caress before breaking tout again across the mesmeric heart and rumble of the track. A fuller sixties psychedelic wash and warmth flows through the song than in its predecessor, taking the listener on a sultrily glazed shoegaze infused harmonic flight. The song simmers feistily throughout, again never coming to a boiling point but flourishing in its temptation before the brilliant Peace Of Mind glides in. Once again shadows and melodic flames converge and merge around the senses, gentle grooves seducing as vocals invite subsequent sonic roars to join the irresistible slavery of the passions. When the track’s kindling does catch to set a fire, it is veined by superb guitar enterprise soaked in fuzzy and caustic beauty before drifting back into the mellow embrace of the song.

The Boat That Is Rowing Slow does not match the songs before and after it, though it is a skilfully crafted and presented slice of fuzz draped blues and Oasis like melodic balladry. With a sonic acidity to its climate and expressive elegance to its raw canvas the song does present a strong addition to the EP others will bask in but misses personal tastes here, especially when up against the closing pair of majestic sonic tempting.

First comes Howl, a slow burner of a song which almost yawns itself into existence before guitar and vocals stretch their melodic and harmonic abilities ready for the subsequent expulsion of their fiery psychedelic waltz. There is a sense of The Cult in their early days to the track in many ways, its predominantly instrumental adventure almost meditative and shamanic as it transfixes ears and imagination. It’s delicious presence is followed and matched by Earth Mother, a similarly captivating exploration of warm vocals and infectious radiance within this time an, and there is no other word for it, earthy landscape of unpolished and crystalline sonic hues draped in a melodic colour lit further by scorching sax and blistering guitar drawn flames.

Both tracks are scintillating, the richest creative tempting to bask and immerse in which over time becomes inescapable for thoughts and emotions, much as the whole of Mammoth. They make a ravishing end to a stunning release, one as said that only increases its strength and dramatic alchemy with each and every taking of its creative journey.

The Mammoth EP is available now as a name your price download and @ http://palefires.bandcamp.com/

http://www.palefires.com/

RingMaster 29/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Mary Joanna & The Southern Electrikk – Wasted

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Sinisterly seductive, Wasted is one of those songs which gets under the skin and leaves an inescapable temptation to persistently tease thoughts and emotions. The track is the debut single from UK band Mary Joanna & The Southern Electrikk, and easy to suggest possibly the beginning of a big affair between artist and British hearts.

Hailing from Manchester, Mary Joanna & The Southern Electrikk is fronted by actress and chanteuse Mary Joanna Coogan. Behind her comes a wealth of experience and talent provided by guitarists Zack Davies and Stephen Evans (Twisted Wheel), bassist Steven Tatji (Paris Angels, Rude Club), drummer Spencer Birtwhistle (Interstella, The Fall), and Rikki Turner (Paris Angels) on keys. Together they cast a weave of sound which binds essences of post punk, shoegaze, psychedelia, and electronic ingenuity into something which is as unique as it is warmly familiar. As evidenced by the single, it is a heady mix from the band and with the siren-esque tones of Coogan quite irresistible.MJ&TSE WASTED COVER ART

From a virulently coaxing of tempting beats from Birtwhistle, the song soon casts a shadowed emotion over its entrance through a riveting bass tone and the vocal croon of Coogan. Radiant shards of guitar ignite the developing landscape whilst a darker breath of keys only adds to the sultry climate of the encounter. It is a compelling adventure which is as hauntingly mesmeric as it is virulently infectious, the hypnotic rhythms and expressive sounds creating a flavoursome canvas for the stunning voice of Coogan to colour and soak in tantalising expression.

Backed by the similarly engaging You Knew You Knew, the single is a stunning entrance by the band. The second song drifts in on a warm breeze of a melody courted by a shadow kissed bassline. It is another irresistible enticement which expels further mesmeric heat with the gentle but full temptation of Coogan’s voice and harmonies. Binding ears and imagination in a persistent echo like persuasion of guitar and keys enterprise, the track smoulders with suggestive elegance, its sonic fascination not quite matching Wasted but certainly give it a thrilling run for its money.

One release is never really enough to suggest greatness ahead but Wasted definitely has thoughts and passions veering in that direction…outstanding stuff.

Wasted is available digitally now @ https://itunes.apple.com/gb/album/wasted/id906058361?i=906058371&ign-mpt=uo%3D4

https://www.facebook.com/maryjoannaandthesouthernelectrikk

RingMaster 22/09/2014

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Jubilee Courts – Go From the Blue Light into the Moonlight

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As shoegaze seems to be pushing its boundaries in sound and intensity, UK band Jubilee Courts add their own striking and tantalising slice of sonic climate with the Go From the Blue Light into the Moonlight EP. Holding five tracks which are as sultry as they are invasively seductive, the release brings a delicious merger of eighties post punk and psychedelically fuelled shoegaze with an incendiary and modern sonic rapacity. It makes for a proposition which carries a potently inciting familiarity but equally a uniquely fresh and provocative enticement.

Hailing from Northampton, Jubilee Courts was formed in 2011 by vocalist/guitarist Josh Falconer, guitarist Matt Bradstreet, and bassist/vocalist Harry Boyde. Soon building up a potent reputation with their live presence around their hometown and surrounding areas, the current line-up was completed with the addition of drummer Frank Robertson-Marriott. Drawing on inspirations from the likes of My Bloody Valentine, The Jesus and Mary Chain, Bauhaus, and Joy Division musically, T S Elliott and Delmore Schwartz lyrically, the band laid down a wider stretching lure with the Stalkers Records released single Room with a View at the end of 2013. Mixed by Temples frontman James Bagshaw, the track pushed the band into a fuller spotlight which Go From the Blue Light into the Moonlight is sure to intensify. The band’s first EP is a thick and hazy adventure in breath and sound yet one which infuses at times a minimalistic intimacy and seductive romance to its ambient and melodic explorations, turning the imagination on its head whilst nagging with a monotone and humdrum persistence. Each song is an interpretation of life, an emotional and mental flirtation from which thoughts and senses find healthy inspiration.

City Flow brings the release to life, its initial sonic wind an attention taking intro from which a lone guitar begins teasing thoughts. Its melodic lead is swiftly accompanied by the dark shadows of the bass and the discord kissed vocals of Jubilee-Courts1-450x450Falconer. It is a raw and haunted enticement which instantly brings thoughts of The Jesus and Mary Chain and early Cure as the song wraps its evocative texture and sonic suggestion around the senses. Eventually the air and turbulence of the scenery increases, guitars creating a tension soaked flaming across bolder and broader rhythmic rumblings. It is a glorious start matched by the cacophonous beauty of Something Different. The again discord fuelled tempest which brings the song into view enslaves attention and appetite but soon makes way for a melody closely related to that within its predecessor, its niggling beckoning rich and irresistible. It too is only a moment in the journey of the track, a surf rock like stream of warmth and sonic acidity immersing ears in a sultry blaze. The instrumental is pure mesmerism, an inescapable soundscape through which the compelling dark bass lure of Boyde coldly tempers an escalating aural sunspot.

The startling entrance of the album is just as impressively continued by Outside Your House, its opening bait a heavy footed and slightly fuzzy bass prowl which is soon aligned to a percussive stomp and a ridiculously addictive guitar hook. A disorientating dance breaks out within the rhythms soon after, not for the first or last time Jubilee Courts binding a melodic elegance and smoothness with a seemingly disorganised and agitated but skilfully crafted contrast of ideation. There is always a rich essence of My Bloody Valentine to songs but here hints of bands like Birdland and Wire similarly add their suggestive whispers. The track continues to lay tender yet imposing melodic and sonic tendrils around the ears as the bass finds its darkest side yet to spark another wave of hunger for the EP which is matched to a lesser but still rich degree by Under the Sand Again. The song is the cloudiest of all on the release, its smoky air and turbulent weave of sonic trespass an insatiable pressure. Throughout though melodic veining shines pleadingly from within the thick atmosphere whilst vocally Falconer resonates and smoulders with his great unpolished tones. It is a heady mix but eventually clarity does free itself as the song builds to a fiery climax. The song is also one which misses that final spark which brings other tracks to bear so addictively on the passions.

The release saves its best proposal till the end, in the riveting and scintillating shape of Sunday Shift. A surf bred line of sonic irresistibility entwines itself around ears and imagination from its first breath, taking the initial lead as suggestive rhythms and a second strand of melodic toxicity rapidly add their spice. There is also fullness to the still minimalistic intent of the track which bounds across the senses but this time with every aspect finding its own clear voice in the entrancing weave. Providing an enthralling and nostalgic post punk temptation in its chilled hooks and rhythms as well as vocally, the track unveils an aural alchemy which even with its rich eighties flavouring and inspiration is innovative and virulently addictive.

To describe the music of Jubilee Courts thoughts of My Bloody Valentine and The Jesus and Mary Chain, as well as Joy Division are unavoidable but to that essences of The Horrors, Wire, Crispy Ambulance, and Artery come into the mix. The band has though forged a sound and release in Go From the Blue Light into the Moonlight which stands alone in presence as it gives an impressive and thrilling twist to shoegaze.

The Go From the Blue Light into the Moonlight EP is available now.

http://jubileecourts.com/

9/10

RingMaster 04/08/22014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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