Dancing summers and busy feet: exploring the contagion of Sofasonic

Multi-flavoured and multi-textured, the Sofasonic sound is an infectious proposition beginning to replicate potent local success on a broader scale. This year sees the UK quartet release their debut album while they have already begun an adventure taking their magnetic sounds into Europe. Grabbing the chance to find out more about Hertford foursome, we talk to Sofasonic about beginnings, band evolution, album and plenty more…

Hello all and thanks for taking time out to talk

Can you first introduce the band and give us some background to how it all started?

Hello! So Sofasonic are Michael Wilson – Guitar/Lead vocals, Niall Turner – Guitar/Backing vocals, SJ Manarin – Bass/Backing vocals and Elliot Manarin – Drums.

SJ started the band way back in 2007 and Elliot joined a couple of years later. Michael drunkenly invited himself to an audition back in 2010, and Niall joined in 2013 and we haven’t looked back!

Have you been involved in other bands before? If so how has that impacted on what you are doing now, in maybe inspiring a change of style or direction?

Michael – used to be in a few bands mucking about with friends, but first serious band was Fugazirum, then Selahdore, and currently Sofasonic. For me, the things learnt not just in those bands but just listening to other people’s music is what has inspired a change in our writing the most.

Niall – I was in Feathertop before joining Sofasonic.

SJ – I was in a band called Karma Truffle before forming Sofasonic.

Elliot – I’ve been in a few bands and still join up with Alstavasser, for random reunion gigs!

What inspired the band name?

SJ – The name has always been the same since the start back in 2007 with a very different line-up. It represented a strong, fast paced sound in a laid back way which still rings true 10 years on.

Was there any specific idea behind the forming of the band and in what you wanted it and your sound to offer?

SJ – Something in here!

Do the same things still drive the band when it was fresh-faced or have they evolved over time?

Elliot – The band has definitely changed and not just through time moving on, but the members of the band changing. Yes we’re older now, but the drive to produce our own music and get out there and get it heard is still something that binds the whole band together.

Since your early days, how would you say your sound has evolved?

SJ – It started off much more towards the folk genre with a hint of indie rock. The whole dynamic changed when we went from having a female to a male singer, and the songs instantly took on a more ‘rocky’ feel. A change in guitarist pushed us away from the indie rock style, on to the sound you can hear us producing today. A rockier, bluesy vibe but still keeping the thoughtful melodies from our folky days!

Has it been an organic movement of sound or more the band deliberately wanting to try new things?

Niall – I think there has been a mixture. Before I joined the band, I’d go and watch and it was certainly a lighter sound. As members of the band have changed, the style has naturally shifted to the strengths of those members, and certainly on our latest album Get Made, we’ve started to experiment a little, and that is sure to continue more in our live shows.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

Michael – For the latest album, we’ve been inspired by bands like Rival Sons, and as the album progressed bands like Crobot and Queens of the Stone Age can be heard influencing our approach. For me, I try to take elements I enjoy watching from any band and see how that can fit – with my own take on it – into our music.

Elliot – Definitely! You need your own take on things of course, but watching bands that are up there, doing it, giving you a good vibe, that’s what you want to give to people watching you.

Is there a particular process to the songwriting within the band?

Michael – We do have quite a unified approach and we gel really well in the studio. For Get Made, the approach followed a pretty similar structure for all of the songs. I would stick a rough idea down for a riff/chord progression; we’d then jam that for a bit in rehearsal and layer everything on top. Something like the title track, Get Made came together in about 15 minutes, where as one of the deeper songs Love Qui Die, went through about 4 or 5 structure changes before we were all happy.

Where do you, more often than not, draw the inspirations to the lyrical side of your songs?

Michael – If I haven’t come across some random lyric somewhere and brought some lyrics to a song, I usually ask the guys for a subject and a vibe of what they are feeling when they play it. From there, I’m off! Sometimes the lyrics get twisted so they are about something real, other times it is a completely fictitious situation. Almost like a method actor, I’ll sink into the ‘role’ of the song and out pops some lyrics – hopefully making sense!!

Please give us some background to your latest release, Get Made.

Niall – Get Made is the culmination of 3 years work and is a real change in direction from our first EP as we talked about earlier. We wanted the best, so it took a few months to get it right but we feel we got there. Someone who picks it up will go on a journey of hope, despair, and ultimately triumph. The meanings behind the songs are quite dark, but the music fights against that and brings it all together and hopefully people will have an experience listening.

Get Made is released at the end of June and we can’t wait to share it!

Can you give us further insight to the themes and premise behind it and its songs?

Michael – For the Get Made album, all of the songs have quite a dark meaning about the struggles of life, be that physical or mental. It’s about the hope of overcoming anything that can be thrown at you. Musically they give off a different vibe which is exactly how we wanted them to sound. For example the title track, is a thumping tune with a catchy riff, but the song is about overcoming an oppressive partner. It’s a happy ending though, talking about it in the past, so hope conquers all!

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

Elliot – Ha well! The start of the [new] album process, the first few songs were finished and just needed slight tweaks here and there. The second half of the album we were going in with the tune done, but not as set in our heads. As in, the first few songs haven’t changed that much from our first play. The newer songs on the album have some effects thrown in, some different instruments added. We’re certainly a band to get creative in the studio!

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it?

Niall – We’ve been really lucky that Hertford is full of venues that are willing to support new music. The Hertford Corn Exchange is a massive support to us and is a great venue. Also The Lord Haig is one of our regulars and it is a great venue. Playing covers gigs help us support the band almost ‘for free’, but I’d say it’s a great thing to do for any band. Yes play as many originals and open mic nights as you can, and having a covers gig to – not only help towards costs – but gain new fans is a huge opportunity. We’re really proud that some of our biggest fans have noticed us from covers gigs and they want to hear some at all of our covers gigs!

Michael – Oh yeah definitely. We’ve been very lucky as well in getting slots on 2 of the biggest events in Hertford. Rock at the Castle and the Musical Mystery Tour; both annual events with the Mystery Tour being an all-dayer, with gigs at pretty much every venue that can fit a musician from 12-12! Great exposure though and any new band in our area has to get a slot and get noticed.

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more those struggling with it are lacking the knowledge and desire to keep it working to their advantage?

SJ – This has been a huge change in the last 15 years or so. MySpace, then Facebook, Twitter, YouTube…the list goes on! It’s great that every band is now more accessible, but at the same time that makes it even harder to break through. You only have to look at the success of awful things like X-Factor that creates throwaway acts that ‘make it’, when you’d be better off going to your local venue and supporting an unsigned band. For us, the social media effect is great though. We share as much as we can and try not to become spam! The ability to live stream a gig so easily is certainly something we use and will be using as much as we can.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Michael – No problem at all, it’s been a pleasure! Hopefully this has inspired you to check us out and like our Facebook page (we’re needy!)! We have some big 2017 goings-on…..

We’re off on our first ever European Tour and have 6 gigs in 10 days in Belgium, The Netherlands, Germany, Denmark and Sweden. Even bigger news is that our first album Get Made will be released on the 26th June, and if you happen to be near one of our gigs pop in and say hello!

Find out more about Sofasonic @ http://www.sofasonic.co.uk/ and https://www.facebook.com/pg/Sofasonic/

Pete RingMaster 21/04/2017

Copyright RingMaster: MyFreeCopyright

Show Of Bedlam –Transfiguration

They may not be the most prolific of bands recording wise but without doubt when Canadians doomsters Show Of Bedlam uncage their creative imaginations and sonic dexterity it results in something truly irresistible and memorable. That claim is richly confirmed yet again with the band’s new seven track EP/mini album, the quite stunning and unnerving Transfiguration.

The Show Of Bedlam sound has never been solely confined by that doom tagging, their fusion of sludge, post hardcore and punk, and atmospheric malevolence a cauldron of raw and transfixing invention and suggestion but never has it been so mesmeric, bone-chilling, and psychotically arcane as within Transfiguration. The release is a furnace of raw emotion and intensity soaked in a suffocating beauty; the band creating an evocation of macabre intrigue and corrosive psychosis which if the Witchfinder General was still a figure of ‘responsibility’ would have Show Of Bedlam burning at the stake.

From their debut release as one half of the split Autocannibalist with Jucifer in 2009 to first album Roont in 2012 and now Transfiguration, Montréal hailing Show Of Bedlam has kept ears and fears waiting and richly rewarded. The time between releases has seen the band continue to nurture and hone, push and experiment with a sound which is instinctively unique and dramatically imposing. For all their previous successes, Transfiguration is easily the band’s finest moment to date and the moment they surely blossom from a widely known secret to a fully-fledged inspiration within the metal scene.

Twelve minute opener Blue Lotus immediately engulfs the senses with its sonic smog of intrigue and melodic discord; enticing and intimidating in equal measure as it crowds the listener ready for the equally haunting and inescapable prowess of Paulina Richards’ presence and voice. There is virulence to all the dark thoughts and visceral imagery escaping the stifling atmospheric density; infectiousness as easily trespassing body and thoughts as the psychosis of sound carrying it. With a gothic wash equally blossoming and recalling Xmal Deutschland at times, the glorious predator of a track swallows the listener with its tapestry of creative spite and despair simultaneously disturbing and invigorating with its oppressive magnificence and intimate examination of the senses.

Latest single Taelus swiftly follows, teasing ears with its melodic beckoning as beats wait to lay an occasionally anthemic hand on an already eager appetite. As a sample lurks, the song simmers and bubbles, bursting from its confines as vocals and guitars entwine in another caustic wash of sonic tempting stalked by the hungry rumblings of bass. As its predecessor, the similarly deceitfully catchy track is as descriptive sonically as it is vocally, every fresh wave and adventure of intensity and cunning a new twist in the nightmarish landscape painted note by note, syllable by syllable.

At two minutes plus, the album’s title track is a short and powerful insight into a blossoming defiance and turning of the worm within a rhythmically entrancing and gripping affair, inciting the senses physically and  emotionally before Hall of Mirrors rises from its slumber with carnivorous breath and intent. It crawls over the listener, dragging its sludgy weight and doomy intensity with rapacious relentlessness as Richards roars with unbridled emotive intensity and persuasion. It too ebbs and flows with energy and greater volcanic urgency, consuming the senses with lava-esque ferocity lined with more of the band’s contagious groove spited toxicity; it all leading to a climax which simply consumes all before it.

Lamentation offers a respite of sorts, its twenty odd seconds a detour into a fresh fly infested charnel house from which the oppressive elegance and invasive almost cancerous  tempest of Easter Water broods and escapes. With every passing second it looms up and imposes its weight and immersive embrace, bullying whilst igniting ears and imagination. Subsequent slips into less intensive though no less spine-chilling and fearsome pastures as well as the darkest corners only adds to the theatre of sound and its realm of the portentously obscure, and to the imagery festering and conjuring in the imagination.

Closed by the brief sonic ruin of L’Appel Du Vide, quite simply Transfiguration is glorious; daunting and alarming for sure but a sonically and emotionally distressed alchemy of sound and invention which leaves the majority of releases this year so far and easy to suspect to come, looking bland and uneventful. As the world falls further into disaster and decay, so Show Of Bedlam rises, their sound and new offering the perfect soundtrack and antidote.

Transfiguration is released May 12th through PRC Music and Sentient Ruin Laboratories with pre-ordering available now @ http://www.prcmusic.com/store/index.php?route=product/product&product_id=1447 and https://sentientruin.bandcamp.com/album/transfiguration

https://www.facebook.com/Show-of-Bedlam-231634652456

Pete RingMaster 18/04/2017

Copyright RingMaster: MyFreeCopyright

Inward Of Eden – Mind Control EP

Inward Of Eden is one of those bands which let their music do the talking rather than make big claims with things like their biography and there is no doubt that their latest EP, Mind Control is a strong and persuasive statement.  Offering four tracks of alternative/hard rock with a healthy lining of blues, the release grabs ears and attention with ease offering up just why the band is beginning to make a strong impression on the US music scene.

Formed in the first weeks of 2014, Inward Of Eden hail from Knoxville, Tennessee and consist of Shawn Siler, Dusty Owen, Chris Gaumond, Bill Goodman, and Donnie Hall. That same year saw the band record debut album Moments to Memories with Mike Dearing and Grammy nominated producer Travis Wyrick (10 years, POD, Pillar). Its well-received release helped the band to subsequently share stages with the likes of Trapt, 10 Years, Sevendust, Hot Action Cop, and The Veer Union.  Now it is Mind Control persuading new ears to attention as the band stir up national attention and more.

The first single from the release, Slow Burn gets things going quickly wrapping ears in spicy blues kissed grooves. Its gait lives up to its name, skirting the listener as strong vocals and prowling rhythms court the continuing flames of guitar. With potent weight to the swinging beats and a gnarly edge to the bass, both skilfully tempering the warm heat of the increasingly impressing vocals and the lava-esque touch of riffs, it is magnetic stuff, never really breaking from its raw smoulder but carrying a hint of volatility as seductive as those heated grooves and every other texture within the striking starter.

The country rock scent of the first track is a richer hue in its successor, the blues flavouring of Devil spicing up the Seether-esque nature of the song further while keys hazily radiate within another infectious encounter. The song takes a little longer to blossom compared to the first but persistently captivates with its familiar yet fresh character before making way for the EP’s title track.

Mind Control instantly seizes ears as vocals make a plaintive cry, sparking another bout of wiry grooves and volcanic melodies. Senses rapping beats add to the swift drama grabbing the imagination, it all colluding in a web of intrigue and commanding persuasion. It is a stomp of a track with a confident swagger which easily hooks limbs and imagination like a puppeteer with devilment in its veins.

New single Ghost of Amelie completes the EP, the song offering its own theatre of sound and craft in a sultry embrace of slow moving but rapacious energy and enterprise. Like the second song, it takes its time to bloom but certainly does so as intoxicating blues liquor soaks the rousing mix of anthemic rhythms and vocal incitement.

It is a fine end to a similarly impressing and richly enjoyable encounter. Inward Of Eden does not have a truly unique sound yet but without doubt it is a wholly fresh and highly appetising one fuelling a release which just demands attention.

The Mind Control EP will be released shortly with the single Ghost of Amelie available now.

http://www.inwardofeden.com/    https://www.facebook.com/InwardofEden/    https://twitter.com/InwardOfEden

Pete RingMaster 19/04/2017

Copyright RingMaster: MyFreeCopyright

Quick & Dirty – Falling Down

It is fair to say that Falling Down, the debut EP from French rockers Quick & Dirty, did not make a striking first impression though certainly it offered strong enjoyment, especially with its opening invitation to rock ‘n’ roll. It is equally valid to say that given the time and effort all releases deserve, the five track proposition has only blossomed into something far more fascinating which maybe more than most is tempting regular attention.

Quick & Dirty was formed in 2014 by vocalist/guitarist Ludovic Caussin and guitarist Fabrice David. First recruiting drummer Laurent Cirri, the Paris based band found a bassist to complete its line-up and begin work on writing and honing a sound said to take inspiration from the likes of Foo Fighters, Led Zeppelin, and Iggy Pop. The departure of their first bassist led to the addition of Tanguy Poirier and in 2016 their initial and successful steps into the Paris live scene.

Quick & Dirty recorded their first release early this year, the successfully crowd funded Falling Down EP having its unveiling recently to already eager and praise lauding responses. It starts up with its title track, a contagious rock ‘n’ roll stomp of a proposition opening with a swiftly engaging tendril of blues scented guitar. Quickly it strolls with boisterous intent through ears, the individual vocals of Caussin as lively as the hook littered sounds around him, all colluding in an increasingly infectious revelry coming to a virulent head in its rousing chorus. The track is irresistible, an instinctive arousal of body and spirit which gets the EP off to a mighty start never quite matched again.

Nevertheless, songs like the following I Was Born only add to the adventure and potency of the release, its own blues steeped character and saunter providing a host of fiery grooves and ear pleasing hooks as the band shows more classic rock traits. Soon developing its own personality to quickly give greater variety to the band’s sound and EP, the song saunters along with a creative prowess and imagination easy to get engaged in, epitomising the release as a whole in becoming a stronger and more compelling encounter over a subsequent handful of listens.

East West comes next, its opening melodic jangle making a subdued but inviting coaxing upon which the spoken and blossoming vocal tones of Caussin weave their suggestion. As is the band’s template, everything in the track leads to a spirited and seriously catchy, hard to ignore chorus before the excellent Trust Me entices with its even richer blues toned shuffle. Rhythms dance as fuzzy flames of guitar smoulder, a flirtatious mix matched by mischievous vocals and teasing melodies which entangle and come together in the track’s own brief but devilishly infectious chorus; that Iggy punkiness hinting away within its heated roar.

The rawer rock ‘n’ roll of Would You Like To Dance brings the release to a strong close, its body a mix of rock at times as much glam and grunge as it is hard and punk rock in other moments. Maybe missing the spark of its predecessors but only increasing in appeal and persuasion through each outing with its enterprising fun, it pretty much sums up the EP in success and adventure.

Falling Down is a great introduction to Quick & Dirty leaving ears and enjoyment thickly satisfied and full whilst laying down a strong base for the band to grow and expand a more unique sound from. For hearty rock ‘n’ roll with a smile in its nature, you could definitely do a lot worse.

Falling Down is available now @ https://quickanddirty.bandcamp.com/album/falling-down

https://www.facebook.com/wearequickanddirty

Pete RingMaster 18/04/2017

Copyright RingMaster: MyFreeCopyright

Rum Thief – Time to Make a Move

It has taken a couple of years for Rum Thief to follow up the acclaimed Reach For The Weather Man EP but the wait has been worthwhile as he releases his finest moment yet with Time to Make a Move. The new EP is a richer and broader adventure of sound and word without losing the instinctive energy and raw passion of its predecessors and a wake-up call to major attention.

Rum thief is the solo project of Manchester based musician/songwriter Jot Green, who previously played drums for over a decade in various bands before deciding to explore his own songwriting and imagination. Debut EP Clouded Mind quickly drew ears and praise in 2014 though it was Reach For The Weather Man a year later which truly sparked acclaim and interest the way of the project. The years around and since have established Rum Thief as a just as flavoursome live presence with guitarist Kieran Whitehouse, bassist Gary Long, and drummer Chris Hobbs alongside but it is through Time to Make a Move that you get a feeling everything is going to ignite for and around the band.

Recorded with producer Shuta Shinoda at the legendary Hackney Road Studio, Time To Make A Move opens up with the outstanding Spittin’ Daggers. A single melodic jangle beckons ears initially, its potent coaxing soon joined by the throb of bass and swing of beats, all settling into a tempting stroll as Green’s expressive tones and descriptive lyrics join the appealing mix. It is a lively simmer soon boiling over in a fiery chorus as aggressive as it is infectious. Like a mix of Arctic Monkeys and Fatima Mansions, the song prowls and roars; its feisty rock ‘n’ roll a web of instinctive catchiness, melodic fire, and dramatic heart spawned suggestion.

The thrilling start is followed by the milder flirtation of the EP’s title track; a mellower proposal soon revealing its own strength in tenacious seduction and captivating enterprise. Its heart is also a lively fusion of instinct and imagination, a new wave/indie rock weave becoming more boisterous and volatile with every passing second. There is something familiar about its character but an indefinable quality which just adds to two and a half minutes of pure pleasure.

What Do You Know is next, its raw air and melodic teasing a fusion of pop from the past few decades, being almost Joe Jackson like in its organic contagion of rousing pop ‘n’ roll. With as many hooks in voice as in sound and again razor sharp lyrically without a sniff of indulgence, the song simply captivates before being matched in potency by closing song Toilet Door. With a rockabilly scent to its voice and shuffle, the track at times reminding of The Shaking Pyramids, the song croons and seduces like a smouldering fire; transfixing from the start and bursting into bigger flames over time as its union of sixties/modern pop catches alight.

It is a strong end to a quickly and increasingly beguiling encounter. At the time, it was hard to imagine Reach For The Weather Man being majorly outshone by future offerings from Rum Thief but Time to Make a Move leaves it well in its wake which is why expectations are rising of seeing Rum Thief become something close to a household name.

Time to Make a Move is out now.

http://www.facebook.com/rumthief    http://www.twitter.com/rumthief

Pete RingMaster 19/04/2017

Copyright RingMaster: MyFreeCopyright

Sandness – Higher & Higher

We cannot say that seventies/eighties metal and hard rock are flavours which light our fires too often but it is fair to say that Higher & Higher, the new album from Italian outfit Sandness ticked many boxes of enjoyment whilst embracing exactly those styles. It is a release which initially struggled to spark the imagination but song by song, listen by listen, grew to be a thoroughly engaging and pleasurable affair; not without flaws but inciting an appetite to hear more from and follow the band as they realise the open potential within the release ahead.

Hailing from Rovereto in southern Trento, Sandness started out in 2008; formed by teenage friends, bassist/vocalist Mark Denkley and drummer/vocalist Metyou ToMeatyou. Inspired by the likes of Mötley Crüe, Crashdiet, Poison, Hanoi Rocks, W.A.S.P., The Ramones, Rolling Stones, Black Sabbath and the likes, the band soon honed its eighties toned sound. A few line-up changes ensued before the current line-up was secured with the addition of guitarist/vocalist Robby Luckets in 2009. Subsequent years has seen the trio support the likes of Adam Bomb, L.A. Guns, and Tygers Of Pan Tang, play across their homeland as well as undertake several European tours and take the stage at the renowned Glam Fest in France. Two demos, Return To Decadence in 2010 and especially Life Without Control the following year, lured strong attention though it was debut album Like An Addiction in 2013 which really sparked a more global awareness of their sound. Now Higher & Higher, released as its predecessor by Sleaszy Rider Records, is stoking up a new wave of fans and though we might not be leading the surge, reasons are readily apparent as to why its fresh success in persuasion .

The album opens with You Gotta Lose, a track which failed to tempt the first time and still labours trying to convince. Opening with a blast of group vocals and predictable eighties riffery, the song soon reveals a snarl which grabs attention but one as quickly tempered by the again familiar harmonic wash of voices.  It is hard to pin down exactly what is lacking within the track other than it just does not appeal to personal tastes but it is a decent start swiftly left sounding pale as the album takes off starting with next up Street Animals. The second song similarly offers a recognisable melodic welcome but is soon spinning its own web of hooks and twists; some unique some familiar but a great fusion creating flavoursome rock ‘n’ roll. Without reading the influences on Sandness, they are easy to guess from this song alone and as suggested eagerly employed by the band in their blossoming character of sound.

The individual prowess of each member is just as open in the track and equally next up Hollywood. Prowling ears initially, it soon whips out some Billy Idol spiced hooks and other moments which are vaguely System Of A Down like in nature. As the album, it is a song which grows and seduces more and more with every listen, its increasingly imaginative nature richly engaging before the melodic croon of Promises in turn captivates. With an increasing fire in its belly inciting a great bass grumble, the song quickly establishes itself as a major highlight of the release, musically and vocally hitting a high.

Through the vocally unstable but ultimately enjoyable Sunny Again and the boisterous hard rock of One Life there is little not too like even if neither can live up to their predecessor while the short poetic instrumental of Light In The Dark captivates before Heat lives up to its name with some quite irresistible fiery grooves against another great grouchy mix of bass and drums, the former the persistent provider of potent bait across the whole of Higher & Higher. With its blues scented flames, the song is another peak in the album as too the power pop rock romp of its successor Perfect Machine. There are no major surprises but a stream of hooks and flirtatious tempting which has body and voice quickly involved and enjoying every second.

The album is at its best by this point, Monster Inside Me backing up the previous two with its own tenacious glam/heavy metal stomp and mix of imaginative features and matched in potency by the groove woven Play With Fire, its prime lures striking as the band revels in its eighties inspirations once again.

Closing with the hearty and increasingly volatile balladry of Will You Ever, a song like the opener it was hard to connect with personally, Higher & Higher provides an increasingly compelling proposition easy to suggest fans of eighties metal and rock especially take a close look at. Sandness is never going to be the first thought when choosing the soundtrack for our day but with Higher & Higher they are going to be considered more than many others bands, for others they will be a long term involvement.

Higher & Higher is available now through Sleaszy Rider Records @ http://www.sandnessofficial.com/shop/ and other online stores.

http://www.sandnessofficial.com/    https://www.facebook.com/Sandnessband

Pete RingMaster 19/04/2017

Copyright RingMaster: MyFreeCopyright

Ghosts of Social Networks – Outside The Wheel

From impressing with their debut AA-sided single Love Potion/ Mockingbirds last year, UK band Ghosts of Social Networks has gone from strength to strength in writing, sound, and attention. Earlier this year, No Going Back left its predecessor and the band’s second single Comeback Kid in the shade, a feat replicated now by Outside The Wheel, easily the outfit’s finest moment to date.

Created by and based around the craft and music of Manchester based Nathan Till, Ghosts of Social Networks create musical and emotional drama within their songs and no more striking than the suggestive theatre shaping Outside the Wheel. Again a song produced by Gavin Monaghan (Editors, Robert Plant, The Sherlocks), the new single winds a spicy groove around ears first, it’s tempting persona soon backed by tenaciously prowling rhythms the warm and expressive vocals of Till. At the same time, a haunting air rises and flows across the song, bringing a sense of The Mission to the brooding, politically charged encounter.

Building crescendos which erupt into a fiery chorus soaked in its own espionage of drama and creatively flirtatious escapades, moments with a touch of Bond to them; the song simply ignites ears and imagination not forgetting real pleasure.

There are some songs which leave a lingering mark on thoughts and emotions; Outside The Wheel one of them leaving Till and Ghosts of Social Networks a real task to match its majesty next time around.

Outside The Wheel is available now through Integrity Records.

http://www.ghostsofsocialnetworks.com/    https://www.facebook.com/GhostsOfSocialNetworks    https://twitter.com/GOSNmusic

Pete RingMaster 19/04/2017

Copyright RingMaster: MyFreeCopyright