Boomin – Now That’s What I Call…Boomin

Tagged as “Simply the greatest live party band on the planet!” UK pop rockers Boomin prove why they can be considered so with new album Now That’s What I Call…Boomin. The band’s renowned fun and mischief surges through its title alone but equally it is a name which sums up the release as a whole.  Containing sixteen tracks pulling from 35 artists, it is the ultimate collection of covers squeezed and moulded into medleys, mash ups and simply straight renditions all recreated and twisted in the unique Boomin way. With many songs we instinctively did not like in their original form there was no real expectation of being enthused about the release but in the hands of the little tinkers we simply felt nothing less than rich enjoyment at their and the album’s antics.

Consisting of guitarist/ vocalist Adam Langmead, bassist/vocalist Rory O’Grady, and drummer/vocalist Edd Langmead, Wigan hailing Boomin emerged in 2006. Since then the band has won numerous band competitions, shared stages with the likes of The Script, Scouting For Girls, McFly, Ultrabeat, Basshunter, and Ndubs among many more, and seen their debut album, Original Junkie reach reached No 22 in the iTunes Rock Chart and No.121 in the Album Charts. It was a potent introduction to the band’s pop infused rock and the instinctive fun which now floods Now That’s What I Call…Boomin.

Opener Thuglife sees a medley of tracks from Beyoncé, Christine Aguilera, Dr Dre, and Coolio in the grasp of Boomin, the track setting the tone, character, and revelry of things to come. Each portion flows into the next, the trio rather than re-inventing songs fingering them with their own devilry to stamp their own imprint on them.

Because of that inherent dislike of certain songs, some tracks certainly got under the skin more than others but all left a smile on the face especially tracks like Smells Like Billie Jean, a glorious mash up of the Nirvana and Michael Jackson classics. There is a vein of unpredictability to the song even with their extremely well-known sources which teases, as good as grins at the listener as song and band romps.

Other moments joining it on the front line of captivation include an impertinent take on Pulp’s Common PPL, a rousing stomp with Sum 42’s Fat Lip, and a bluesy hard rock lilted roar with Come Together from The Beatles. Alongside, the shameless fusion of Björk’s It’s Oh So Quiet and Sinatra’s New York, New York is pure incitement for vocal chords and energetic revelry from band and listener alike, but as suggested the whole album gives plenty for body, imagination, and energy to dive into, the irrepressible King Of The Swingers testament to that.

We will leave you to discover the rest of the album and your particular favourite moments to run riot with and you will more than once whether drunk or sober.

So Boomin the ultimate party band? Well Now That’s What I Call…Boomin offers little to deter such a statement, in fact nothing at all.

Now That’s What I Call…Boomin is available now @ https://boominmerch.bigcartel.com/

https://www.boominband.co.uk/   https://www.facebook.com/boominband/

Pete RingMaster 27/07/2018

Copyright RingMaster: MyFreeCopyright

Kevin Mcgowan – Hibernation Masturbation

km-pic_RingMasterReview

Hibernation Masturbation is the new single from Scottish musician/songwriter Kevin Mcgowan, an artist who collaborated a few months back with Karel Fialka on his new album Peace v War. Written seven years ago as Mcgowan reflected on the growing reliance of the world on technology and the media for information and allowing its guidance of our lives, the song is a tantalising landscape of indie rock with the potent harmonic tones of its creator inciting the imagination in fine style.

The theme and insight of the track is even more relevant to the now as people seemingly live their lives in the fantasy of the internet, its relationships, and through media controlled information rather than the real world around them.

km-art_RingMasterReviewMusically the song carries a nineties indie/Brit pop feel, essences of bands like Suede and Pulp teasing ears within Mcgowan’s own open invention. Its opening touch is woven by the strings of Mcgowan’s guitar, each note a lure inviting and tantalising as darker rhythms stroll alongside with the weight of shadows on their shoulders.

Instantly engaging with a growing catchiness to its character and gait, Hibernation Masturbation only tightens its grip on ears and appetite as a blossoming tapestry of captivating hooks and suggestive melodies entangles the imagination along with the descriptive potency of the lyrics and vocals.

With every aspect of Hibernation Masturbation from creation to release a solo effort by Mcgowan, the single is a creative statement which commands attention, its sound and enterprise simply ensuring that success is a done deal.

Hibernation Masturbation is out now via imagine & believe records on iTunes @ https://itunes.apple.com/gb/album/hibernation-masturbation-single/id1146680042?ls=1&app=itunes

https://www.facebook.com/kpmcgowan   https://twitter.com/kevinmcgowan67

Pete RingMaster 28/10/2016

Copyright RingMaster: MyFreeCopyright

Keep Breathing – Call Of Youth

KeepBreathing_RingMasterReview

Previously known as WTCHRS, before going on hiatus late 2013, Keep Breathing is a Newcastle hailing band which is about to present May 2016 with one of its more memorable moments. That comes in the shape of new single Call Of Youth; a flame of nostalgic and modern alternative rock which fascinates and seduces in equal measure.

Consisting of vocalist/guitarist Liam Milne, guitarist Jack Healy, bassist Thom Lewis, keyboardist Dale Knight, and drummer Alex Cook, Keep Breathing returned from their break to reimagine their sound and write new material with a new sense of purpose and creative fire, certainly if the new single is anything to go by. With shows across the UK alongside the likes of The Wedding Present, Palma Violets, The Vaccines, Drenge, and Public Service Broadcasting in its experiences, Keep Breathing had a potent base to reassess their next move from but there is no escaping a new sense of adventure and spirit accompanying their return.

Call Of Youth_Artwork_RingMasterReviewProduced by Ed Buller (White Lies, Suede, Pulp, Spiritualized, Slowdive, The Primitives), Call Of Youth is one of the early results of that time out and a striking and heavily enjoyable proposition it is too.  It is fair to say that the band’s alternative rock sound comes with plenty of other flavours and textures too, as quickly revealed in the new single. Its first few moments with Milne standing within an expressive weave of guitar and keys crafted melodies has a U2 feel to it, though that soon evolves as the rugged tone of the bass and the flowing stream of melodic and harmonic enterprise and suggestiveness brings a rich Echo and The Bunnymen air to the brewing infectious drama. Equally though, there is a distinctive character to sound and song which is all Keep Breathing; a stirring blend which with ease has ears and imagination enthralled and voice and hips involved.

It is hard to say that Call Of Youth is truly unique yet, apart from those spices mentioned, it stands alone in the crowd. It is easily accessible and boldly inviting yet stirringly individual its own way and that only helps to makes it something special.

Call Of Youth is released via End of the Trail Records on May 6th via iTunes and other stores.

KEEP BREATHING LIVE DATES:

Saturday 20th May ‐The Great Escape Festival, Brighton

Friday 28th May ‐ Sound City Festival, Liverpool

http://keepbreathing.co/   https://www.facebook.com/keepbreathinguk   https://twitter.com/keepbreathinguk

Pete RingMaster 06/05/2016.

Copyright RingMaster: MyFreeCopyright

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

Orange Vision – Dark Around the Eyes

OV_RingMaster Review

Listening to Dark Around the Eyes, the new single from UK quartet Orange Vision, is like delving into a treasure trove of sounds from the past five decades or so. It is a kaleidoscope of flavours bred from sixties psych rock, seventies post punk, eighties new wave/shoegaze, and twenty first century imagination, and one delicious temptation revealing why there is a hoo-hah brewing up around the band.

cover_RingMaster ReviewIt was almost two years to the day that Oxford hailing Orange Vision emerged from the creative bonding of vocalist/guitarist Edmund Quigley and lead guitarist Matthew Holford. Finding a mutual “love of clothes, music and a generally delinquent approach to their depressing surroundings and sapped music scene”, the pair formed the band with its line-up subsequently completed by the addition of bassist Daniel Jones, and drummer/backing vocalist Jacob Mott. The past year has seen Orange Vision impressively support Superfood and Honeyblood on the NME New Breed Tour, earn strong radio attention from the likes of Huw Stephens on BBC Radio 1 and Steve Lamacq on BBC 6 Music and more recently release the acclaimed How You Feel single. There is a certain feel going round that this is a band going somewhere, especially after Dark Around the Eyes works its compelling charm.

A stroke of jangly guitar is an instant lure, one quickly joined by more stringed bait and bass seduction speared by crisp and equally tempting beats. As soon as the sultry tang of melody breaks out persuasion is in full and relentless flow. The song’s early smouldering acidic charm is soon hugged by rumbling rhythms and spicy enterprise which is almost XTC entangled in Echo and The Bunneymen further embraced in Pulp meets The Cure honesty and pop alchemy. A relentless breeze of sparkling hooks, dark rhythms, and dourly tantalising vocal adventure entangle ears and imagination but all the time a host of other gripping twists and inventive essences enthral within the bewitching mix; a sixties pop shimmer of guitar just one irresistible element in the glorious infestation of dark pop.

Dark Around the Eyes is one half of the new double A-sided single from Orange Vision. Sadly we were not sent Wish You were Orange over to cover too, but if it is half as potent as its companion and the band’s other songs released to date, then it too will be part of possibly the best pop song unleashed this year.

Dark Around the Eyes/ Wish You were Orange is available from August 31st

Pete RingMaster 31/08/2015

Copyright RingMaster: MyFreeCopyright

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

Yeallow – The Trick

Yeallow - Band pic (1)

Yeallow is a French band which plays Brit rock; well that is the unexpected sound which their bio states they produce. Taken from their latest album, the Strasbourg quartet has just released new single The Trick to follow up a series of shows in the UK and reveal what their music is actually like, sounds which have feet and appetite happily involved within moments. It reveals that the tag only vaguely hints at the flavoursome concoction of styles which actually converge within the band’s music, though there is no escaping opens whispers of bands like Muse, XTC, and Pulp either.

The band openly pulls on a wide range of styles for their music, sounds and ideas which come from the wide musical backgrounds to and influences upon its members. Everything from jazz to blues, alternative rock to thrash adds spices to the creative pot of four musicians on an adventure “built around a story of strong friendship where the vital need to make music is the common denominator.” The release of Yeallow’s first album 2891 seconds in 2010 quickly lured the attention of a promoter in the US, leading to the band playing a tour of legendary Los Angeles and San Francisco clubs which included venues such as Whisky a go-go and Cat Club. Back in France the band’s stature and success equally rose whilst a tour of the UK in 2012 had British audiences catching on to the band’s sound. It is fair to say that the band has made a widespread impact with a series of tracks/singles across the next couple of years continuing to keep things bubbling, especially the 2014 released Clocks. It is new album Homebred which has ignited the broadest attention yet upon the foursome of Fred aka PMGM (vocals, guitar, keyboards), Ted (guitar, backing vocals), Bill (bass), and Ced (drums), backed by the tour and now The Trick.

Bass and guitars offer an initial drama with their potent entrance before the single quickly settles down into a feisty stride with raw riffs and sharp hooks. The song relaxes into a mellower gait though as the vocals come in, the bass providing a throbbing background to voice and jangling guitar tempting. The track’s scenery is ever evolving though, unpredictable melodies amidst flowing sonic enterprise teasing and sparking the imagination further whilst the rhythmic underbelly of the track never relents in offering low key but constant anthemic bait. Small and engaging crescendos only add to the infectiousness of the song and though it is not an encounter to blow your socks off, it worms under the skin and incites more enjoyment with every listen.

The Trick is a smart and inviting lure into the band and indeed their new album, a temptation ultimately hard to ignore.

The Trick is out now and the album Homebred @ http://yeallow.bandcamp.com/album/homebred

http://www.yeallow.net/     https://www.facebook.com/Yeallow.Club

RingMaster 03/05/2015

Copyright RingMaster: MyFreeCopyright

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

Raglans – Self Titled

raglan pic

A dance for feet, imagination, and emotions, the self-titled debut album from Irish band Raglans is a magnetic introduction to a band which has already brewed up approaching feverish attention around home city Dublin and the wider landscape of Ireland. That spotlight is sure to be expanded as the infectious adventure of their album takes the hands of UK passions and leads them in its thrilling melodic waltz. The eleven song blaze of captivating sounds and insatiable energy provides all the reasons as to why the indie-folk quartet has swiftly made a major mark back home and will soon have wider fields spellbound you suspect.

Forming in 2010, Raglans took little time to create a potent following and reputation for their live performances and sound, an encounter which charges up the passions as much through its flavoursome breeding from the varied heavier, punky, and folkish tastes of the band’s members as it does from the virulently addictive hooks veining the release. Multi-instrumentalist and lead vocalist Stephen Kelly linked up with bassist Rhos Horan first before enlisting drummer Conn O’ Ruanaidh and lead guitarist Sean O’Brien soon after as the band took its first steps as Raglan, its name taken from a famous Patrick Kavanagh poem, On Raglan. The first year saw their demo track Down make its entrance before the band was invited to spend a week producing and recording with Boz Boorer, renowned for his collaborations with Morrissey. That spawned the eagerly received Long Live EP of 2012 as well as a couple of videos with young filmmaker Finn Keenan to accompany songs on the release. A pair of singles, Digging Holes and Natives drew even greater acclaim and hunger for their sound helping the foursome to land support slots with the likes of The Courteeners and HAIM.

Produced by Ivor Novello nominee Jay Reynolds (Elton John, Pulp, The Verve) and mastered by Grammy award winning Brian Lucy (The raglans coverArctic Monkeys, The Black Keys, Beck), Raglans’ album is the next step on the rapid ascent of the band. As soon as the rhythmic and vocal revelry of opener Digging Holes seizes ears, thoughts and emotions similarly come under the spell of song and band. Almost tribal and certainly anthemic, the track is under the skin within seconds, continuing to forge a deeper toxicity with the rhythmic enterprise of Ruanaidh rampant within the emerging melodic guitar and keys colouring of the festivity. Vocally the band is just as potent, the great tones of Kelly perfectly backed and aided by the rest of the band. As the song evolves through changing gaits and twists around its core infectiousness, it provides one of the best rock pop encounters to bounce into and flirt with the passions over recent years.

The irresistible start is soon backed up potently by both (Lady) Roll Back The Years and the following Fake Blood. The first is again a melody soaked flame of insistently persuasive hooks and teasing rhythms aligned to sonic adventure and punchy imagination. With whispers of blues and folk rock to its feisty energy and weight, the track is an insatiably compelling stomp with a keen swagger to match. Its successor brings a more relaxed attitude to its suasion though there is still a purpose and passion to it which is of a heavier rock base, and though it is less dramatic and insistent than its predecessors, the song still adds another layer to the immense satisfaction welcoming the album. Another pleasing aspect to the songs, certainly to this point, is how the band ends them, each stepping from the ear as vivaciously and dramatically as at any other point in a track to add an additional lingering thrill in the mix.

Before Tonight saunters in next with a melodic smile in its heart, its folk pop stroll a warm summer chorus of harmonies and elegant hooks, whilst Natives uncages another anthem of virulent pop with a reserved but fully loaded temptation of guitar hooks, rhythmic enslavement, and vocal enticements. As with many songs there is something familiar playing with ears and thoughts but only to the benefit and potency of the rich thrilling bait.

The album continues to incite greater pleasure and allegiance to its inventive charm and melodic grace, the likes of the rigorously catchy blues kissed rocker White Lightning and the emotively sculpted Not Now raising more appealing weaves of thoughtful craft and delicious melodies whilst the more than decent High Road, if without sparking similar depth of ardour, pushes a wider gape to the grin inside the release and listener.

Keeping another pinnacle for its latter stages, the album then launches the brilliant romp of The Man From Glasgow on ears and passions, the track a vivacious rival to the first for best song. It is an energy pumping feast of guitar and bass endeavour alongside perfectly incendiary rhythms and similarly enslaving harmonies all drawn into a tempestuous pop song with more than an essence of pop punk breeding to its rampancy.

The album is closed out by firstly Down, the song another merciless proposition of harmonic enterprise and crafty indie coaxing stealing more of the passions, and lastly the refreshing Born In Storms, a track which does not spark the strongest rapture but certainly confirms album and band as something to loudly recommend. It is easy to see why the release of Down way back in its demo state awoke attention in so many whilst the last track simply reinforces the clever seduction of the band’s songwriting and sound. Raglans will be a small name making big impressions on the lips and thoughts of the UK as their album works its inevitable way into the hearts of a great many, becoming a presence as full and voracious as their sound.

https://www.facebook.com/Raglans

9/10

RingMaster 24/03/2014

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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Ed Zealous – Wired

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    Unveiled on the back of three singles which certainly raised an eager appetite for its appearance, Wired the debut album from electronic pop band Ed Zealous easily confirms and reinforces all the promise and radiant enterprise brought from those early releases. The February 3rd released ten track album is a feisty adventure of energetic electro/ dance enterprise and guitar crafted indie pop, a record soaked in a busy sound seemingly seeded in eighties electronic endeavour yet constantly taunting and careering thrillingly through the ear with a modern rock rapaciousness. Arguably the sound of the Belfast quartet is not breaking in new ground to explore but there are few others striding confidently down the same interpretative path of already discovered invention as this richly promising and powerfully enjoyable band.

     Consisting of vocalist Steve McAvoy, guitarist Andrew Wilson, bassist Pete Lloyd, and drummer Paul Irwin, Ed Zealous as mentioned has stirred up very potent attention and anticipation for their album through the trio of singles released in 2013. One by one Medicines, Thanks A Million, and Telepaths have washed creative juices around the passions to breed a hunger for Wired, an appetite the album feeds with ease and more. Forging emotively fuelled synths with fiery guitar temptation within a rhythmic punch which never relinquishes its addictive bait whilst drawing on influences which come from the likes of David Bowie, Talking Heads, Pulp, and TV On The Radio the band look set to make 2014, like the last, another year to mark a rapid ascent in their striking emergence. Predominantly recorded with engineer Rocky O’Reilly with additional production by Eliot James (Bloc Party, Noah and The Whale and Does It Offend You, Yeah?), Wired is an exhaustive magnetic party of creative rampancy and contagious adventure; not necessarily ripe with pure originality but undeniably bulging with excitement and riveting imagination.

     As soon as the opening suspenseful drama of 147 hits the ear you sense there is something special brewing. Synths lure in the 400573_10152084633124304_1585922415_nimagination right away before the song settles into a mellow yet intensive persuasion with thumping rhythms and moody dark tones puncturing the electronic wash. It is an instantly engaging and provocative encounter but one which goes more directly for the passions once the guitars and bass temptation strides and erupts across the song around the expressive enjoyable vocals of McAvoy. At times unashamedly anthemic and constantly stirring up the imagination with a melodic craft which helps fuel an already hungry appetite for the release, the track is an urgently persuasive introduction to the album setting a high bar for it to maintain.

     Something it definitely does with the following Thanks A Million, the one song on the album recorded with producer Rich Jackson. As soon as its initial melodic narrative wraps around the ear followed by a lush groove, there is a familiarity to the song which only pleases and takes thoughts to eighties electronic pop essences. A definite Thomas Dolby feel emerges with the senses wrapping synth imagination yet equally you are reminded of the current sounds of James Cook and Does It Offend You, Yeah? whilst the track sculpts its own identity to devour eagerly. A track which manages to impress immediately and also slow burn its way deeper into the emotions over time through its big bruising bass tones and gripping melodic coaxing, it is dark temptation immersing the ears in a sizzling evocative wash.

    The devilishly infectious Medicines steps up next to deepen the lure of the album, its Blancmange like electro pop excitement and bordering on wanton energy insatiably seductive whilst the infection clad chorus and vocal call only grips satisfaction tighter for a lingering and compulsively addictive encounter. Recent single Telepaths breathes the same contagion as its predecessor, guitar and synths driven by outstanding vocals luring senses and feet to a feverish submission for the raucous electro rock party. Both tracks continue the high range of peaks established by the album and light the fuse to even greater suspicions as to how good and successful Ed Zealous could become.

     I Will Destroy You is a perfectly placed track, its melodramatic and emotive textures aligned to a slower gaited temptation exploring new depths and enterprise within the band and their songwriting. Though not as immediate to persuade as those before, the song enslaves keen attention for its thoughtful shape and evocative hues and allows a breath to be taken whilst it’s subtle and inventive majesty works its way into the imagination. The following Talk With Your Hands also takes time but with its David Byrne like creative swagger and heavy rhythmic caging it also secures full satisfaction and hungry attention over numerous exploits.

     There is something infuriately familiar to the start of Diamonds For Eyes yet it evades definition even after plenty of adventures with the dancefloor hugging track whilst These Words reaps those eighties influences yet again as its magnetic body inspires thoughts of China Crisis. Both songs stretch and add to the fascination of Wired with skill and mischievous flair before making way for the outstanding Videohead, a track which emerges as the favourite here. Adding an electro punk element to its fuzzy electronic flaming, the song is like a mix of Calling All Astronauts, B-Movie, and at times the John Foxx led Ultravox, the band again bringing a touch of nostalgia into a more aggressive modern exertion and invention. It is an enthralling and addiction causing maelstrom of ideas and sonic sculpting brewed into a contagious provocation of epidemic proportions.

    Completed by the funk ripped It’s Only The End, a song which you feel would ignite the dancefloor of any era such its blend of irrepressible decade crossing melodies and electronic virulence, Wired is an exceptional first album from Ed Zealous, one which impresses right away and only increases its strengths and stature over time. This is a band you can see creating new boundaries for electronic pop ahead and becoming a well-worn name over time.

http://edzealous.com/

https://www.facebook.com/pages/Ed-Zealous/89457839303

9/10

RingMaster 06/01/2014

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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