Bernaccia – Power To The Hills

Bernaccia_RingMaster Review

For their darkest exploration yet, Newcastle neo-psych rockers Bernaccia release new single Power To The Hills which again confirms them as one of the most fascinating and exciting incitements on the British rock scene. Bred from the band’s now renowned fusion of psychedelic mystery, tribal rhythms, and desert blues beauty, the new song transports ears and imagination into the shadowed world of sinister atmospheric romances and sultrily surreal drama, a rich, dark adventure to immerse in.

Since the release of their Cinema EP in 2014, the quartet of vocalist/rhythm guitarist Jonny Noble, lead guitarist Stew Falkous, bassist Kieran Healy, and drummer Chris Cox has bewitched attention with their warmly intrusive and hazily lingering sound. To be fair even before that they were enticing loyal fans and strong awareness their way through a potent live presence around the Northeast and further afield. Forming in 2010, the band over time has shared stages with the likes of Royal Blood, Twisted Wheel, and Wolf People whilst this year alone they have opened for Lola Colt, Alabama 3, and The Fall as well as play Tramlines 2015. Musically that period has also seen their sound become darker and more diversely involved; kaleidoscopic in flavour as the acclaimed Light//-//Dark EP, also of 2014, revealed. Confirmation comes again within Power To The Hills, arguably the most intense and dark tapestry from the band yet.

The song swiftly has ears lined-up before a rhythmic enticing which quickly works on the body too as keys gently but imposingly swarm the senses with a suggestive ambience and haunting melodic spicing. Pretty soon these elements align with a bordering on shamanic rhythmic stroll and an even sultrier mesh of spicy guitar tenacity and keys spawned dark seducing. Over these the recognisable tones of Noble spill drama and shadowed lined expression, his presence like a narrator to the theatre of words and the increasingly fiery and tenacious sounds.

There is an essence of the darkest delta blues tones to the song, an acidic almost dangerous lining to the inflamed psychedelic hues and the increasingly addictive lure of the frenetic rhythms. The track is superb, perpetually eventful and unpredictable leaving the listener on an aural cliff hanger with its sudden halt.

Bernaccia continue to bewitch with their musical hex simultaneously growing in deserved stature and acclaim. The first single from the band’s debut album (Growl, Peace, Belief its working title), Power To The Hills confirms that not only this year has been a big and important time for the band but that 2016 will be the year of Bernaccia.

Power To The Hills will be self-released on September 26th.

Pete RingMaster 09/09/2015

Copyright RingMaster: MyFreeCopyright

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The Sons of Bido Lito – Avalanche

TSOBL_RingMaster Review

Some songs just frisk ears with their creative tenacity; finger the imagination and fondle the psyche with a tempting which almost seems like it has been engineered just to fit personal tastes. One such irresistible enticement for us is Avalanche, the new thrill laden single from UK garage/psych rockers The Sons of Bido Lito. The two track encounter is pure addiction on 7” vinyl courtesy of Dirty Water Records; a pair of songs which from different directions unite to create aural manna for swerving bodies and lusty thoughts.

Taking its name from the Los Angeles hangout of the Sunderland band’s musical heroes such as The Doors, Love, and Captain Beefheart, the seeds of The Sons Of Bido Lito began in the summer of 2011. Inspired by the sixties garage rock sound and equally its psychedelic seduction, the quintet began weaving those essences into their own shadow rich imagination and dark toned invention. The years since emerging have seen the band support the likes of Jacco Gardner and James Skelly & the Intenders, share stages with bands such as Primal Scream, and the release of their well-received debut EP Bido Music in the April of 2013. The following Gamma Ray! single again awoke new and greater amounts of eager appetites as well as finding itself being used by Fifa for their YouTube goal of the month video, ensuring the song there alone was heard over one million times, whilst the track Coco Bongo was taken up by Heineken for their Champions league coverage with Ruud Gullit bringing another 2,000,000 YouTube hits in touch with the band. Now it is the turn of the brilliant Avalanche to stir up more attention, a success quickly assumed as a given once the title song sets to work on ears and imagination.

Cover_RingMaster Review     For us it took barely a handful of seconds to be enthralled to Avalanche, the song winding a juicy flirtatious guitar groove around ears, it almost instantly joined by the bulging muscle of commanding and enticing beats. Another breath sees further guitar shimmering seducing the senses and a rumbling dark bassline whipping up the emotions. Fair to say already every aspect of the song comes with an addictive virulence which only grows and intensifies over time. The garage rock stomping spawned by riffs and rhythms alone just dangles impossible not to take a bite at bait in the lure of the song, that incessant tempting leading to a host of keen and imposingly gripping hooks, juicy grooves, and the great effect wrapped vocals of guitarist Phill Houghton.

Surf rock hues soak the melodic enterprise whilst bass and beats taunt with a tone and infectiousness lying somewhere between The Cramps and Bo Diddley. Overall the song, drawing as much on the flavourings of artists like The Sonics and Dave Edmunds as it does those like Reverend Horton Heat and Th’ Legendary Shack Shakers, finds a unique spot in a bordering on psychotic landscape which is quite simply sixties spawned rock ‘n’ roll alchemy perfect for any era.

The accompanying 12 Commandments emerges with a character more coloured by the psychedelic influences of the band. From within a wash of waves on an imagination assuming midnight lit shore, another heavily alluring bassline from Lem grips attention. A matching rhythmic coaxing from drummer Dodsy quickly joins the affair and a sultry embrace of guitar from Paddy Pickering too, once more a surf rock seducing working away through his and the string exploits of Phill Houghton whose vocals sway in ears like a magnetic flame, the keys and percussive enticing of Chris Houghton completing the palette of sonic colour in the psych rock temptation. The collusion of all hues maybe inevitably suggests The Doors but equally the likes of The Byrds and fellow UK band Kobadelta come to mind across the encounter too.

Though the lead track steals the show, 12 Commandments is sheer bewitchment and together both tracks make Avalanche one majestic virus of sound and reveal The Sons of Bido Lito as one musical infestation everyone needs in their life.

Avalanche is available on 7″ vinyl and digitally via Dirty Water Records from October 14th.

Pete RingMaster 07/09/2015

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The Slytones – Shake The Cage

slytones_RingMaster Review

There is no precise way to describe the rich sound of The Slytones and no way to stop it crawling under the skin and enslaving the psyche. This has been proven over previous releases but is at its most seductive and darkly magnetic in new single Shake The Cage. The song and the accompanying Thomas Thumb making up the release cast a kaleidoscope of ravenous flavours, styles, and warped imagination whilst their characters are as relevant to the carnival as they are to voodoo bred escapades. They both epitomise the heart of The Slytones sound whilst simultaneously creating their own new and unique imagination romancing adventures.

The British band began as a trio, expanding its line-up over time whilst quickly alluring keen appetites with their The Psychedelic Sounds of EP in 2011. It is fair to say that the Brighton hailing sextet of Ashley Edwards (vocals/guitar), Bradley Wescott (lead guitar), Chip Phillips (vocals/keys), Freddie Hills (drums), Chris Warren (vocals/bass), and Robin O’Keeffe (percussion) have drawn comparisons, in an attempt to describe their sound, as broad in the diversity of bands as the mix of ingredients colluding to ignite their individual incitements. There are few bands which can conjure such variety within a single song let alone a whole release, but as Shake The Cage proves it is child’s play to The Slytones.

The striking of a match sparks a fanfare of enticement, its blowing out the trigger to a feisty stomp built on ska clipped riffs and jazz seeded swing. Keys and guitars instantly have feet and hips involved whilst the dark tones of the bass along with the infectious hooks, simply work on the imagination. The track continues to stroll along with 12 Stone Toddler/ Mynie Moe like devilry, a flowing torrent of unpredictability lighting up and bewitching from every move taken before it all gets turned on its head for a garage rock prowl reminiscent of Th’ Legendary shack Shakers. Grisly barker like vocals leads the fresh parade of sinister carnival-esque flirtation, keys and rhythms an insatiable romp in the shadow soaked shuffle now toying with ears and brewing even thicker enjoyment. All the time the song is still weaving a virulent swing and psychotic drama, every passing minute an adventure of individual design with superbly woven styles but always leading back to the rich contagion of its original psych kissed and energetically rabid swing.

As if one irresistible treat was not enough, Thomas Thumb brings its own maze of ingenuity in sound and invention. Opening with a gospel seeded dose of harmonies and ambience around the leading edge of the main vocals and narrative, the song subsequently opens into mystique lined psychedelic scenery brimming with creative theatre and picturesque tempting. Like a blend of The Doors, Arthur Brown, Rocket From The Crypt, and Tankus The Henge, the song swarms over ears with invasive magnetism, every touch a slight evolution from the last before the track bursts into a sturdy garage rock canter which steers towards a Queens Of The Stone Age meets Faith No More/6:33 devilment.

Both tracks are glorious, a must for anyone with a taste for avant-garde and psychedelically warped adventure, but songs which flow with a natural and skilfully infectious, and wonderfully unpredictable, waltz. The Slytones is a carnival of invention, mischief, and most of all unstoppable fun so do yourself a favour and check them and especially Shake The Cage out.

Shake The Cage is out now.

Dates for The Slytones and Moulettes tour this September! :

16th September                   Southport                     Atkinson

17th September                   St Helens                       Citadel

18th September                   Halifax                           Square Chapel

19th September                     Morecambe                  Hothouse

20th September                   Ramsbotton Festival   Manchester

Ringmaster 01/08/2015

Copyright RingMaster: MyFreeCopyright

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Malka – The Constant State

Malka 3_RingMaster Review

Listening to the debut EP from US band Malka is like looking into a reflection within solidly disturbed clear water, eyes exploring a myriad of openly different but connected realms and possibilities. The Constant State is the equivalent for ears, each song revealing its own unique fusion of shoegaze, psychedelic rock, and dream pop but coming together for one intimate yet expansion flight of sound and imagination.

Hailing from New York, Malka consists of Darko Saric (guitars, synths, vocals), EJ DeCoske (guitars, synths, vocals), David Ciauro (bass, vocals), and Michael Dawson (drums).Emerging in 2013, it seems the quartet quickly began enticing support and acclaim with their sound locally and soon further afield, no real surprise when embracing the rich persuasive sounds of this their first release. The album is a kaleidoscope of immersive atmospheres, fascinatingly varied vocals and harmonies, and evocative melodies, all infused with lyrical explorations as intensely provocative as the sounds around them.

Malka - The Constant State cover artwork_RingMaster Review     A Flock Of Crows is the album’s first embrace, warm melodies from guitars and synths caressing ears whilst brewing a slightly volatile ambience for the captivating touch of vocals from across the band. Equally the rhythms have a darker, hungrier but welcoming edge too, the beats from Dawson especially enticing as the song merges a wistful dreamscape with energetic catchiness. There is no escaping a seventies /eighties feel to the encounter either but it is one woven into a tempting which also hugs broader essences from surrounding decades amidst a modern breath.

It is an enthralling opening to The Constant State backed and surpassed by the ethereal beauty of For Now We Live. As melodically meditative as it is atmospherically and rhythmically invasive, the song is like the first, a tenacious incitement which in many ways is imposing with its mesmeric glaze of post and psych rock infused with emotionally tense vocals and sultrily sonic hues. The song is irresistible, much as its successor the surf seeded Mientras Se Respira. The Spanish narrative is offered by the mellowest croon of voice with matching bewitching harmonies, whilst around them the guitars court an alternative rock colouring which is as much Pixies like as it is suggestive of a My Bloody Valentine or a Cocteau Twins. A smouldering kiss on the senses and imagination, the song further unveils a stirring diversity to the band’s sound and songwriting.

   Wolves And Sheep steps forward next with a pulsating shimmer to its almost festering hug of sonic light and melodic reflection. The track, as all upon The Constant State, provides a full beacon of light yet there are shadowy textures and tempering essences which only add to the drama and mystique of songs. Certainly this and its companions generally need time and many plays to truly open up for ears and thoughts to explore, but with a great trespass of sonic endeavour and expression brewing for a fiery climax, the song emulates all others in providing an increasingly magnetic and enjoyable trip through compelling atmospheric trespasses of the senses.

Both Diamond Girl and Corazon Sin Sangre keep the listener fuelled with adventure and diverse terrains of sound and imagination in potent persuasions, the first with its enslaving and increasingly dramatic sixties spawned smoulder of psychedelic pop and the second through its spatial yet intimate dark pop meets post rock drenched soar. Though each misses the extra ‘something’ of their predecessors, each song is pure temptation for album and ears from fresh and alternative soundscapes.

The release comes to a close with Swoon, easily our favourite track springing from the album. There is a familiarity to it from the first melodic breeze but it is an indefinable air which only adds to the thickening emotional theatre and climatic texture of the song. It is gentle but also lively tapestry of sound and invention, the perfect irresistible end to one potent introduction.

It would be fair to say that The Constant State, though making a strong first impression, grew into the thrilling adventure it is over time, an enticing and definitely enjoyable first touch evolving into the breeding of richer explorations and pleasure. The final thought is that Malka has the potential to bring major propositions to the British rock/ indie pop scene ahead and to be honest they already have with The Constant State.

The Constant State is available now @

RingMaster 23/07/2015

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White Manna – Pan

WM_1Reputation Radio/RingMaster Review

There is something deeply irresistible about the White Manna sound, actually plenty of things, but definitely there is a primal invitation to their psyche rock induced spatial adventures which makes band and releases pure contagion. The Californians’ previous acclaimed offerings bear witness to its potency, each offering a blistering infestation of ears and imagination cultured in pungent riffs and searing grooves, whilst the band’s live presence is renowned for stripping the senses blissfully bare. Now the quintet of David Johnson, Johnny Webb, Tavan Anderson, Anthony Taibi, and Michael Dieter unleash their finest moment yet in the fiercely simmering shape of Pan.

As fans of the Humboldt hailing band will expect, the heart of Pan is poached in celestial explorations and fuzz sprung psychedelic breaths driven by garage rock tenacity. It offers broad and deep, almost supernal soundscapes inspired by the Northern Californian landscape; guitarist Johnson saying about the band’s sound that “…the trees, beaches, and open spaces where we live are all integral parts of our approach to music.” This time though there is a stronger intimacy to the earth we tread and emotions felt through Pan, as reflected in the title, and a new almost predacious creative appetite and energy to tracks which are aligned to expected rhythmic virulence and psychedelic ferocity.

The album’s title track sparks ears and imagination first, a sonic piercing the trigger to a smog of fuzz fuelled riffery and atmospheric causticity. Almost straight away within the smothering embrace though, there is an infectious garage rock swagger which infects rhythms and the scuzz grooves seeping from the magnet tempest of sound. The result is a song which is a brewing cauldron of intensity and scolding sonic heat, never erupting fully but providing a seriously engaging and bracing scorching of flesh and psyche.

It is potent and stirring start quickly outshone by Dunes I and subsequently Dunes II. The first of the two similarly emerges from a sonic kiss on the senses, rapidly turning into a blaze of seventies psyche rock laced rampancy driven by a tenacious rhythmic seduction. The garage rock lustfulness of the White Manna sound is again a loudly piquant source of irresistible persuasion as it consumes ears and emotions, the song after its great start an inevitable enslavement matched and contrasted in sound by its successor. The second of the two is a slow saunter through air and emotions. Its body is a fusion of surf and psyche rock with a shoegaze like energy to its smouldering tempting, and uncontrollably enthralling. There is still a dirty tint to its atmosphere though, the band as always challenging as they seduce, stirring up things as they embrace with imagination and sound.

Yet another lofty plateau is breached with Evil. The track is a proto-punk bred treat, a catchy stomp of garage rock and scuzz pop strolling through ears like a mix of The Stooges and The Hives with a dash of The Sonics, but ripe with the uniqueness that is the White Manna sound. There is relentless drive and incessant urgency to the song as well as a great repetitious essence at its core which simply leaves you wanting more. The track is exceptional, pop rock alchemy and instantly matched by Beta Travelers. A spatial climate hints this song initially, it soon becoming the suggestive backdrop to a masterfully alluring shuffle of drum rhythms courted by choppy riffs. Everything intensifies with each circle of the rhythmic rallies though, evolving and enlarging into a melodically fuelled flame of enslaving enterprise, vocally and musically. That reiterative element of the music is once more pure addictiveness within the sonic boil up; every riff, hook, and rhythm inescapable temptation bound in grooves which flirt like a temptress within the song’s skin and psyche permeating scuzzy air.

Pan is brought to a close by Eshra, a twelve minute sonic painting of instrumental adventure and craft. Crashing waves within a lonely climate builds the scene, a canvas slowly defined and pushed by guitar and keys. Every passing minute adds a new descriptive layer and tempestuous intensity to the broadening terrain until by around halfway, the song is a fascinating swamp of sonic droning, fiery melodic exploration, and rhythmic hypnotism, all within another sultry surf seeded space rock coloured atmosphere. It is a riveting end to a thrilling encounter, and the perfect way to leave a lingering mark on the listener.

The impression Pan itself leaves is indelible, the album simply one of the most memorable and provocative encounters this year so far.

Pan is out now digitally and on CD, both versions including the equally impressing bonus tracks Slow Dust and Master Of The Universe (Live), and on vinyl. All options are available through Cardinal Fuzz in Europe @ and Captcha Records Stateside via

RingMaster 05/06/2015

Copyright RingMaster: MyFreeCopyright

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Flyying Colours – ROYGBIV EP

Flyying Colours_Reputation Radio/RingMaster Review

Like a favourite candy, the ROYGBIV EP from Australian shoegaze popsters Flyying Colours, is richly flavoursome, addictively captivating, and impossible not to treat oneself to another portion of. It is a delicious slice of aural contagion wrapped in inescapable melodic seduction, and one addiction it will always be ok to indulge in.

Hailing from Melbourne and formed in 2011, Flyying Colours cite My Bloody Valentine and Fleetwood Mac as influences to their own sonic explorations and with the former an immediate spicing and the latter becoming more apparent over listens, they make a healthy spicing to something individual to the band. Similarly the compelling beauty of a Lush and the psych pop seducing of House Of love also nudge comparisons yet there is a bolder, almost bruising texture to the Flyying Colours sound which adds stronger uniqueness to the creative theatre of songs and EP. 2013 saw the release of their self-titled debut EP, a full introduction to their attention grabbing, raw beauty clad sound which came after the first teaser of the single wavygravy. Its qualities and lures are now explored with new intensity and adventure through ROYGBIV, a success with the potential of awakening a really broad spotlight upon their presence.

Flyying Colours EP_Reputation Radio/RingMaster Review     Single songs and the EP as a whole, are as rich in aural colour as its title suggests, but an evolving kaleidoscope of sound rather than a structure of individually layered hues just lying against each other. It all has a changeable and transfixing quality which starts with I Don’t Want To Let You Down. A sonic jangle works on the senses initially with its bait quickly joined by the thick beats of drummer Andy Lloyd Russell. The persuasion of guitar expands the moment the two meet and collude in awakening imagination and appetite, a sonic smoulder with a lively underbelly casting its spell on ears as the equally magnetic vocals of guitarist Brodie J Brümmer caress. The song continues to stroll with warm intent, getting feisty at times especially in a vivacious chorus which sees second guitarist Gemma O’Connor add her siren-esque tones to the mix. The bass of Melanie Barbaro is arguably the most laid back thing on the increasingly fiery encounter, yet her strings only add thick seduction through their thickly magnetic shadows within the blaze of the song.

It is a potent and infection clad track quickly backed and surpassed by the voracious shimmer of Running Late. Guitars jangle and dance in ears, offering a feel of British eighties indie pop a la Orange Juice and Josef K, whilst both vocalists twin up their mellow tempting to stroke ears. There is an unmissable sparking between textures in the song, igniting the thick sonic haze of the encounter further and indeed a sway of bodies and movement of feet and emotions before it.

The increasingly impressive adventure and ascent of the release continues with Not Today, and straight away the song has ears and thoughts spellbound as an opening melodic mist is pierced by one invigorating and tantalising bassline. Its groove is matched by those of the guitars and also in the more low key post punk vocal delivery of Brümmer. That post punk essence is throughout the EP but especially here makes the most delicious lure, suggesting that if Joy Division had gone funky with their sound it would have been something akin to this hex of contagion. Spicy hooks and a rhythmic swagger relentlessly feed a quickly hungry appetite and impassioned lust for the incitement and it is no surprise the song is the lead invitation to the EP, and indeed a favourite across the band’s recent UK tour with Pinkshinyultrablast.

In The End emerges from the closing strains of the triumph, swiftly laying down its own virulent persuasion though reining in the dramatic urgency of its predecessor just a touch as it wraps ears in a thicker smooch. Like the last track though, it barely takes a minute before full involvement of the listener is enticed, the still tenacious energy of the song inescapable incitement to the body as feet tap rigorously and hips swerve to the flow of the proposal.

Final track Leaks almost bludgeons its way into view in comparison to other tracks, the muscular snarl of bass and matching jabbing beats a heavily boisterous lure courting a caustic yet bewitching sonic mesh of sound from the guitars, it all coloured again by the immersive vocals. It is a fiery end to the release, and another irresistible song showing, as each proposition within ROYGBIV, another twist to the sound and invention of the band.

Flyying Colours is cast as shoegaze but their outstanding EP proves that there is much more to their voraciously bubbling shimmer of sound, plenty to appeal to fans of melodic and psychedelic rock as well as those of psych and lo-fi pop.

The ROYGBIV EP is available via Club ac30 in the UK @ and in the US on Shelflife @ now!

RingMaster 18/05/2015

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Red Spektor – Self Titled EP

Red Spektor Promo Shot Reputation Radio/RingMaster Review

There is a rich flame burning away in the Potteries, and it goes under the name Red Spektor. The UK trio are poised to release their self-titled debut EP, a blaze of psychedelic, stoner, and classic rock which fascinates as it engulfs ears and imagination, and unrelentingly thrills as it provides further evidence that heavy and fiery British rock ‘n’ roll is heading towards a fresh heyday.

Hailing from Stoke on Trent, Red Spektor emerged at the end of 2012 drawing on inspirations from the likes of Black Rebel Motorcycle Club, Led Zeppelin, and Black Sabbath. Once the threesome had honed their sound, they proceeded to hit the live scene with swift success, sharing stages with bands such as Carousel Vertigo, Attica Rage, Texas Flood, and Lawless along the way. Every step drew more eager ears to their growing fan base, accelerated by festival appearances whilst the band never letting a week seemingly go by without igniting a venue somewhere. 2014 saw the band record and release their EP via Bandcamp, a 5 track encounter recorded live and straight to tape over two days. Now it has its full digital unveiling and it is easy to expect Red Spektor stoking up a new wave of close and acclaiming attention.

The band draws on essences of “dark pre-war blues right through to the British blues explosion of the sixties and the heaviness of the seventies albeit with a modern and dirty twist” according to their bio, a mix swiftly seducing the senses and igniting the air through EP opener Hard To Please. A lone vocal guitar awakens instant attention, its rich spicy lure soon joined by a solemnly brooding bassline and crispy beats as the song quickly settles down into a feisty tempting. The guitar of John Scane virtually dances across the senses, every riff and hook incendiary and leaving a sultry residue like the trail behind Marvel Comic’s Ghostrider. Vocally he has a mellower but no less potent air, clean and alluring against the sizzling of blues/psyche invention and Rob Farrell’s dark basslines.

Red Spektor Cover Artwork Reputation Radio/RingMaster Review   It is a seriously gripping start quickly backed by the slower, more intensive presence of Transcending. The thick and freely swinging beats of drummer Darren Bowen cage ears and anticipation as an almost melancholic bass coaxing prowls; both sparking swift appetite for the song’s impending offering. A sinister seducing comes with the enterprise of the guitar, and indeed vocals, as sixties and seventies sounds collude with a modern creative rapacity to bewitch and crawl over the listener. The track is a relentless smoulder rather than the blistering eruption of its predecessor but just as persistently magnetic and irresistible.

Third song Everywhere puts a higher gear in motion for its rich persuasion of blues rock; rumbling and strolling along whilst melodic vapours intoxicate ear and air alike. Rhythms cast a dirty tempering shadow and compliment to the searing enterprise, keeping the psychedelic croon earthbound as once more the band has attention bewitched. The exploration of the dirtier textures within the song continues with greater focus and revelry within the next up Redemption, Red Spektor tapping into the purest vat of blues distilled rock and adding their own not exactly unique but certainly distinct flavouring to another transfixing and highly enjoyable proposal.

The song probably does not quite match those before it though, whilst all of the songs before also find themselves in the shadow of the glorious closer Earth Mother. From its first beat and eager riff, the track bursts into a masterful and virulent swagger. An anthemic and delicious groove leads the way, courted by similarly lively and bold rhythms aligned to a throaty bass invitation. The song relaxes a touch in urgency as the vocals add their easy persuasion to the mix, picking its knees and tempo up again between verses and around the fiery enticing which subsequently seeps from every melody, hook, and resonating bass groove. As across all songs, Scane’s solos just burn their way into the psyche, but it is the overall swing and insatiable tenacity to the song which helps it take best song honours.

Many like us missed the Red Spektor EP first time around, and indeed the band’s emergence, but its new full digital unleashing ensures there are no excuses now in not exploring band and sound. No excuses only rich rewards.

The Red Spektor EP is digitally available from May 18th via all online stores.

RingMaster 17/05/2015

Copyright RingMaster: MyFreeCopyright

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