Voyager – Ghost Mile

There is no denying the eager grin which broke upon faces here when the new Voyager album was sent through, having been seriously tempted by the band since their second album uniVers in 2007 and lustfully hooked through their fourth and fifth in the acclaimed shapes of The Meaning of I and V. The later in 2014 set a plateau it was easy to wonder if the Australian band could eclipse thereon in. Hopes and a quiet confidence have just been realised with the release of Ghost Mile, an album which brings a truly fresh breath to progressive metal as instinctively catchy and virulent as it is technically and inventively imaginative.

The success of the Perth quintet’s last album saw the band invited to perform at major festivals such as ProgPower USA, Euroblast Festival in Germany, and the ProgPower Europe Festival in The Netherlands as well as sharing stages with the likes of Deftones, Opeth, Leprous, Protest The Hero, Nightwish, Epica, Oceans of Slumber, and Coheed and Cambria. Voyager ended last year touring Australia with Deftones and Karnivool and being further invitations to play Euroblast and Progpower EU this year, the latter as headliners. Now with Ghost Mile driving things, it is hard to imagine 2017 being anything other than a really busy adventure, one no doubt littered with praise lured by their stunning new album alone.

Mixed by Matthew Templeman and mastered by Simon Strutters, Ghost Mile opens up with Ascension. A golden melody kisses ears first with the warmth and intrigue of a dawn sun, its suggestive air tempting the imagination before bolder rhythms add their bait. Djent teased enterprise is soon joining the blossoming affair, their steely tenacity paving the way for another caress of elegance around the radiant tones of Danny Estrin. As magnetic as ever, his presence is swiftly joined by sturdier textures whilst being the ringleader to an irresistible infectiousness soon fuelling the chorus and body of the evolving encounter. With the suggestive heat of his keytar matched in craft and magnetism by the guitars of Scott Kay and Simone Dow, the song is pure captivation, only increasing its potency as breaks of predacious intent and aggression escape.

The quite stunning start is quickly continued by the equally outstanding Misery Is Only Company. From the off, it has a harder core to its presence, a latent but open intensity which lines jagged riffs and the brooding air of Alex Canion’s bass. There is no containing the instinctive catchiness within songwriting and imagination though, the swinging beats of Ashley Doodkorte inciting similar boisterousness in the resourceful and technical enterprise across the band. Deftones’ Chino Moreno recently likened Estrin’s voice to Duran Duran’s Simon LeBon, something at times easy to agree with and indeed at times the song has something of the British outfit to its pop sensibilities, infectiousness aligning with more predatory essences to masterful effect.

Next up Lifeline initially lays another sunny shimmer on the senses, its progressive aptitude soon courting metallic rapacity though as melodies radiate and vocals warmly croon. Relaxing into a gentle stroll, there is still a constant snarl to the guitars and bass which breeds alluring unpredictability and waiting volatility, the latter never truly having its moment but keeping the calm honest whilst giving the progressive/ pop rock adventuring a threat. As with its predecessors, physically involving the listener is a quick given and with increasingly lust.

The provocative nature of Fragile Serene seduces next, its climate a mix of melancholy and joy with one addictive hook at the heart of a fusion of rich temptations which almost swarm over the senses into the imagination before To The Riverside carries the same fantasy off in its evocative piano led flight towards the waiting more capricious embrace of the album’s title track. From the first second, Ghost Mile has an agitated eagerness which infects body and spirit, the carnivorously laced bass growling beautifully within the fiery but composed roar of the track. Like sonic and melodic alchemy, the song turns four minutes or so into a cauldron of heavy and light, dark and luminous adventure; contrasts uniting rather than battling for the album’s pinnacle.

What A Wonderful Day pretty much sums up the feeling during its three minutes plus, its pop nurtured rock ‘n’ roll as contagious, additive, and arresting as anything heard this year so far. Its warm dance though does have predacious overtones lurking in its shadows, their semi-vocal presence more realised in the tenebrous texture of the following Disconnected, though it is never devoid of the light and vibrancy instinctive to the Voyager imagination. With industrial breath seeping into the track’s progressively nurtured and invasive metal challenge, there is nothing to deter a quick and full submission to its rousing and often caustic incitement.

The enchanting fascinating of This Gentle Earth simply beguiles next, the union of piano and vocals alone sheer seduction and only escalated as rhythms probe and drama floods every rising texture and tendril of contagion sharing sound; an infectiousness belying the emotional reflection of disconnection.

The album finishes with the fiercely charismatic As The City Takes The Night, a track growing from an absorbing tango into a blaze of heart and intensity which smoulders, simmers, and boils across its eventful reflection without ever seemingly taking the same route twice. As the album, the song is a fascination giving more and more with every listen, rewards including pure pleasure.

Expectations of Voyager are always high because of previous triumphs but again left short by an album which will take some shifting from being one major contender for this year’s greatest moment.

Ghost Mile is out now via Nova Distribution across most stores.

http://voyager-australia.com/   https://www.facebook.com/voyageraustralia   https://twitter.com/voyagerau

Pete RingMaster 17/05/2017

Copyright RingMaster: MyFreeCopyright

Kill for Eden – Woke Up Alone

Ahead of their new album Petty Crimes, due for release out April 21st, UK rockers Kill for Eden have just provided a sure temptation to anticipate and explore its body with new single Woke Up Alone. A magnetic slice of fire lined melody and captivating contrasts, the song is impassioned rock ‘n’ roll, as much punk as pop and hard rock in its character and thoroughly enjoyable.

London based and formed in 2012, the quartet have an already well-received pair of EPs and self-titled album under their belt, releases along with their live presence which has earned praise and support from fans and media alike. With Woke Up Alone as a clue, the upcoming album feels like it could be a step to wider recognition and richer attention, especially if it builds and pushes further the growth of sound and imagination found in their new single.

A crash of guitar and soaring harmonies is the first spark grabbing the imagination, a lively lure which soon settles into a calm moment of melodic strumming alongside Lyla D’Souza’s magnetic voice. Julian Palmer’s bass soon brings its brooding essence to the blossoming mix before a subsequent eruption of emotion and intensity. It is never near being a storm, as riffs sizzle, Dave Garfield Bown continuing to cast his melodic web while drummer Wally Miroshnikov has control in his swings yet that punk essence is a bold and forceful edge to a moment and chorus which is equally new wave like in its catchiness and warmth. D’Souza also continues to impress and captivate, her fire perfectly ebbing and flowing with the rise and simmer of the sounds around her.

As the song increases its hold with every listen, its infectious side in many ways reveals kinship with the Buzzcocks, more importantly it also wakes up an appetite to see what Petty Crimes has in store; more of the same would go down very well.

Woke Up Alone is out now with Petty Crimes released April 21st.

Upcoming Live Dates:

Thursday 4 May – The 100 Club, London W1, supporting The Barnstormers. (album launch)

Saturday 6 May – Hanwell Hootie Festival – London

Friday 19 May – The Great Escape Brighton (pm) & The Iron Road – Evesham (eve)

Friday 26 May – Phoenix Bar, High Wycombe

Tuesday 30 May – The Horn – St. Albans

http://www.killforeden.com/    https://twitter.com/KillForEden   https://www.facebook.com/killforedenrock

Pete RingMaster 30/03/2017

Copyright RingMaster: MyFreeCopyright

Twister – Designed State of Mind

twister-pic-2_RingMasterReview

Since forming, UK rock pop band Twister has shared stages with the likes of Status Quo, Simple Minds, Texas, Scouting for Girls, Jools Holland, and The Joy Formidable, Guns ’n’ Roses guitarist Ron Thal (Bumblefoot) on his 2015 UK tour, and finished second out of 12,000 acts in the Surface Festival. Each moment has drawn praise and vocal support, something not hard to understand whilst listening to the band’s new mini album Designed State of Mind.

Offering six vibrant and emotionally intensive affairs, Designed State of Mind catches ears with its instinctive catchiness and the imagination with its accomplished melody rich character. Straight away as opener and the band’s new single hits ears, there is an instant show of new maturity and a blossoming in the band’s sound since previous album This Isn’t Wonderland of 2014. Songs are more rounded and the united craft of the band tighter, Trees alone revelling in that growth. Quickly tangy hooks and spicy melodies entangle with the darker hues of a lively bass, beats swinging with matching eagerness as the infectious encounter descends on ears and appetite. Impossibly contagious by the time of its pop loaded chorus, the track bounces around inspiring the same in body and spirit; Jake Grimes, Matthew Whitaker, and Joe Major a lively proposition around the potent voice of Stevie Stoker.

twister-album-artwork-design_RingMasterReviewed-state-of-mindIt is a thrilling start which the EP at times equals and or closely misses but constantly sparks strong enjoyment starting with Monroe. More of as grower than its predecessor and with a touch of restraint to its seeming want to explode, the song strolls along with rhythmic shadows aligned to reflective melodies as vocals again caress ears with a firm and captivating touch. It too has a chorus which is hard not to get involved in while its melancholic air seduces before the excellent Fist Fight by the Waterside steps forward.

Once more suggestive melodies and tenacious rhythms collude with Stoker’s powerful tones as the song’s character has the spirit and punch its title might suggest. Touching on the predatory at times, the track easily rivals the opener as a main highlight and quickly matched by the mellower reflective charm of Monopolise. Reflective voice and melody coax ears before the song broadens out into an anthemic croon with feisty energy and heart to the fore. There is a touch of ABC to the song, if that band had turned to hard rock, it ending as infectiously enticing as anything on the album.

Designed State of Mind ends with the equally red-blooded Feeding Frenzy, a rousing encounter if missing the final vital spark of previous songs within the album and lastly Fortune Favours the Bold, a warm and boldly engaging song again not quite reaching the heights of before. Nevertheless the pair brings the album to a highly pleasing close adding to a want to hear more from Twister, a Durham hailing band rising up the UK rock scene with every passing success.

Designed State of Mind is out now through most online stores.

https://www.facebook.com/TwisterUK   https://twitter.com/wearetwister

Pete RingMaster 10/10/2016

Copyright RingMaster: MyFreeCopyright

Amaryllis – Nova Initium

Pic Joe Brady Photography

Pic Joe Brady Photography

There is an honesty to the Amaryllis sound, a raw pureness in heart and feel which is as magnetic as the music cast by the British band. The alternative/pop rock quartet comes from London and has already awoken keen interest with a pair of previous EPs; now it is debut album Nova Initium doing the asking of attention as the band’s most resourceful and imaginatively crafted proposition yet.

Formed in late 2012, Amaryllis was a potent live proposal by the following year, backing up on stage and more the promise found in the band’s self-titled debut EP of 2013. It was a release which clocked over 10,000 downloads and 25,000 plays/views. Since then the quartet of vocalist Sante Moonie, guitarist Alex Whiteford, bassist Stewart Whiteford, and drummer Michael Mann have expanded their sound as first hinted at in their 2014 second EP, Revolt, and earned an increasing reputation for a live presence taking in shows with the likes of Elliot Minor, The Dirty Youth, Boy Jumps Ship and more over time. Nova Initium now reveals itself a clear step up on those previous strong successes; in songwriting, sound, and impact whilst still suggesting there is potential of even bigger and bolder as well as increasingly unique things to come.

The album opens with new single Thorn and straightaway an air of drama lines the initial keen strokes of guitar and the darker scythes of the same which soon arise around then with meaty rhythms in tow. In no time those early spark on ears become a rousing stroll with enticing band calls deep within the catchy roar of sound. Things settle down a little as the emotive tones of Moonie join the tempting, her voice as emotionally honest as the sounds fuelling the character of the album and in many ways their lead. There is also an instinctive snarl to her delivery echoing the rawer energy and attitude of the song; every aspect uniting for a potent and highly enjoyable not forgetting memorable start to Nova Initium.

amarcover_RingMasterReviewHold On steps up next, matching its predecessor in tone and intensity as well as organic drama. Riffs and hooks collude to quickly create an ear catching canvas through which the bass prowls and beats land upon with intimidating intent. Again there is an infectiousness which is pop bred but more so a beefiness which unmistakably announces Amaryllis firmly as a hungry rock band. With some great imaginative hooks and unpredictable twists, the song simply builds on the success of the opener before making way for All We Have, a slightly lighter affair with its own depth of emotive reflection and ear pleasing enterprise. Moonie again only impresses, especially when she brings a bolder roar to her delivery, whilst the Whiteford’s guitar and bass enterprise show great invention in uniting calm and explosive contrasts and textures.

Bounding along with emotive and energetic liveliness, Basement has attention and appetite for the release firmly held, if without quite leaping through ears with the same immediate potency as those before it. With an infectious swing led by the vocals of Moonie and band, it is not too long before the song has convinced and involved feet and voice though, with the atmospheric Nova following to tantalise and reinforce the album’s capture of the imagination. There is a great theatre to its brief presence; a shortness suggesting it is more a lead into its successor Initium than a standalone proposal which in a way is a shame because the piece really grips attention with its provocative tone and craft and feels like unfinished business by the time it drifts away. It is a missed opportunity maybe, though Initium provides its own tapestry of invention and adventure to quickly lure all attention its way.

The groove infested rock ‘n’ roll of Drown hits the spot straight after, the track a heavier rumble with certain grouchiness to riffs and rhythms; they contrasted by the warm harmonies and melodies crowding round Moonie’s engaging voice. Emerging as one of the bigger favourites within the album, it departs for the accomplished balladry of Rain which brings Nova Initium to an increasingly mesmeric close.

Across Nova Initium, Amaryllis reveals their most expansive canvas of variety and imagination yet. It might lack that final explosive spark at times, the last element to ensure that the release explodes on the ear but there is no escaping that it is also an encounter which announces the band as something different and exciting, with as suggested earlier, the promise of even more impressive things to come.

Nova Initium is out now @ https://amaryllisuk.bandcamp.com/album/nova-initium and http://amaryllis.bigcartel.com

Upcoming Live Dates:

May

20th – B2, Norwich

21st – Scruffy Murphys, Birmingham

22nd – Leeds, Milo Bar

June

4th – Camden Rocks Festival

https://www.facebook.com/AmaryllisUK   https://twitter.com/amaryllisuk

Pete RingMaster 13/05/2016

Copyright RingMaster: MyFreeCopyright

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

The Ellipsis – Wasted Potential Me

The Ellipsis_RingMasterReview

The Ellipsis is a young British band with a very easy on the ears ability to weave melodies which sing in the imagination while a virulent catchiness springs upon the body. The evidence is in their recently released debut EP Mind In The Sky and now their rousing new single Wasted Potential Me. Taken from that EP, it is a spirit raising, energy enticing wake up call to newcomers and a confirmation for those in the know that the Coventry hailing indie rockers are the real deal.

With its seeds sown when guitarist John Connearn and drummer Ben Eardley formed their first musical project as twelve year olds, The Ellipsis, with bassist Harry Green and vocalist/rhythm guitarist Henry Bristow completing the line-up, has become a potent presence not only on their local live scene but spreading across the UK. Their emergence has been more than helped by potent tracks like debut single White Feather and impressive live performances at the likes of the Wychwood festival, when headlining Coventry OxJam, and in front of 30,000 rugby fans at the Ricoh Arena. Radio play has been a courting support too and it is easy to expect the band to have more with Wasted Potential Me stirring up ears and further attention.

From its first seconds and a great bait of eager guitar, the song is soon in command of ears and appetite, the swinging beats of Eardley and strolling dark tones of Green’s bass alone thick temptation. Into a seriously catchy stride and character, with the rhythms continuing to jab and incite feet and hips, warm harmonies and Bristow’s engaging vocals soon enjoyably collude with spicy grooves and flirtatious melodies.

At times there is a touch of The Vapours to the song, The Farmer Boys meets Lightning Seeds too; a slight whiff of nostalgia which only adds to the captivation and inescapable addictive roar of the song.

Wasted Potential Me is no one off in The Ellipsis sound, having checked out their EP on the back of it for proof, but it is one of their most dynamic slices of distinctive pop rock which all should think about adding to their impending summers.

Wasted Potential Me is out now @ https://theellipsis.bandcamp.com/

Upcoming Live Dates

Sat 4th June – Coventry, Motofest

Fri 1st July – Coventry, Godiva Festival

Fri 7th July – Napton Music Festival

Sat 8th July – Nuneaton, Nunfest

https://www.facebook.com/theellipsisuk/   https://twitter.com/TheEllipsisUK

Check out the video for Wasted Potential Me @ https://ringmasterreviewintroduces.wordpress.com/video-selector/

Pete Ringmaster 12/05/2016

Copyright RingMaster: MyFreeCopyright

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

Tess of the Circle – Amplify

TOTC_RingMasterReview

Though a trio of exceptional singles have already provided a powerful and thrilling insight into the new album from British band Tess of the Circle, it still has not stopped Amplify from surprising and impressing beyond expectations. The eleven tracks making up the band’s second full-length offers virulent roars and irresistible croons, and a collection of rock ‘n’ roll fuelled songs which leap with zeal and passion at ears and imagination.

Rising in 2013 within the British Independent Collective, an artistic union of friends and talent in various mediums formed by singer/songwriter/guitarist Tess Jones, Tess Of The Circle soon sparked potent attention from fans and media alike with debut album Thorns. Jones’ songs soon found regular airplay which has continued since, especially with those recent singles. The past couple of years have been especially busy and successful for the band; that national radio support leading to a double figure amount of live sessions backed by a stage presence which has seen the band play five shows at Glastonbury, sub-headline the 2015 Acoustic Festival of Britain’s second stage, and headline Bear Gryll’s Festival in London. Such the might and majesty of the Gavin Monaghan (Editors, Robert Planet, Lemmy, Ryan Adams, Grace Jones) produced Amplify, all before seems like just being the prelude to bigger and bolder things for the Oxford hailing band; bigger success sparked by a release which it would not surprise if it emerged as an album of the year contender for a great many come December.

With guitarist Lee Clifton, bassist Ben Drummond, and drummer Paul Stone, alongside Jones, Tess Of The Circle get right down to business with opener Love Is the Drug That You Crave. As potent and contagious as first time heard as a single, the song is soon filling ears with the distinctive voice of Jones and scythes of guitar within an electronic shimmer. The relatively controlled start soon erupts into a feisty burst of energy and bait soaked hooks; a two prong coaxing repeated before the track hits a tenacious and rousing stroll. It is quite simply a blaze of melodic and rhythmic infectiousness; a bracing stomp only given greater depth by the great backing vocals around fiery textures cast by guitars and keys.

It takes little time for the variety within Amplify to emerge; from The Cars meets John Butler Trio feel of the first song, a Gary Numan air colours the following I’m Not Ashamed, though it is a spice predominantly cast by the vocal tone of Jones. Nevertheless, a great range of emotive and rhythmic shadows wrap the energetic canter of the song, adding weight and intrigue to the hazier lures of guitars and harmonies. As its predecessor, it takes little time to get fully involved with the grungy encounter, a swift persuasion matched by You Take Me Out of My Head and its thumping slice of bullish hard rock and anthemic rock ‘n’ roll. From its fiery jangle and imposing rhythms, the song demands attention, rewarding the submission with addictive hooks and beguiling grooves courted by the delicious throb of Drummond’s bass. Riffs are equally as formidable and persuasive; the track the perfect blend of aggression and seduction with blues enterprise for further drama.

A chance to relax is provided by the emotive croon of Believe (Into Her Arms), though ears and imagination are as busy as ever in being beguiled by the outstanding encounter. With blues hues lacing the guitars and a gravelly texture enjoyably coating Jones’ vocals, the song mesmerises as skittish rhythms entice. Even in its balladry, the track offers a catchiness which is impossible to resist as our hips and throats can attest to before they are given an even greater workout by the Nirvana-esque incitement of Mother Daughter Son. The track leaps and pokes with matching intensity; stirring up appetite and spirit with its slightly volatile revelry in a persuasion more than matched by Digging At My Bones. Like a tango, the song twists and turns, ebbs and flows in its unpredictable drama and enterprise. Emotionally more than physically tempestuous, the track uncages a theatre of sound and invention which gets right under the skin, tapping into the instincts for heart rousing rock ‘n’ roll.

The excellent Face the Changes flirts with a REM scented adventure next, its rock pop contagion a gentle but inescapable tempting, whilst Drowning Without You as good as steals the whole show with its dark and swampy rock ‘n’ roll. The brooding twang of the guitar is manna for the ear with extra spice provided by the provocative mystique infested melodies. The song nags the senses, seduces the imagination, and flirts with body and soul from start to finish, standing as album favourite with consummate ease even in the company of seriously impressing companions.

The heart blues serenade of Summer Rain is next, holding ears and enjoyment firm before allowing The Waves Break Us Down to share its intimate ballad wrapped in emotive strings and vocal melancholy. Both songs make compelling persuasions whilst adding fresh shades of creative colour to Amplify; one final hue offered by the closing beauty of This Higher Ground and its folk rock embrace of intimate sentiment and lively endeavour.

Amplify is quite sensational, not only living up to the promise of its temptation laying singles but revealing numerous more sides and imagination to the songwriting and sound of Tess of the Circle. It is not a must check out album recommendation we offer but  a must have suggestion.

Amplify is out now via Vintage Voice Records on iTunes and other stores.

http://www.tessofthecircle.com   https://www.facebook.com/TessOfTheCircle/

Pete RingMaster 26/04/2016

Copyright RingMaster: MyFreeCopyright

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

Victoria+Jean – Divine Love

V-J-_RingMasterReview

From the gorgeous artwork by Russian artist Oleg Dou through to the cinematic seducing which escapes each and every song, Divine Love is creative beauty involved with an imagination which simple leaves the listener lost in fascination. The imagination comes from Victoria+Jean, the episodes of aural drama from their debut album, and the brooding romance between listener and artist from instincts that just know when something transcends just ear food.

The band is the artistic and romantic union of Swedish born vocalist Victoria and Belgian guitarist Jean. Brought up in London and moving to Paris where she began her first career as a model, Victoria was a musician at heart and was signed as a solo artist aged 16 by a French major label, though she broke her four-album deal before releasing her debut, unable to make the compromises demanded upon her by the label. Moving to Belgium she met Jean and the couple began a career “motivated by encounters, travels and sound.” We have simplified the background for and leading to the project and union of the pair, with not for the first or indeed last time, Divine Love demanding to be the focus of attention.

art_RingMasterReviewIn creating the album, the duo sent their 12 tracks to their favourite producers with the request of collaboration for the release. The list included the likes of John Parish (PJ Harvey, Goldfrapp), Rob Kirwan (The Horrors, Depeche Mode), Christopher Berg (The Knife), Ian Caple (Tricky, Kate Bush), Joe Hirst (Stone Roses), Alistair Chant (PJ Harvey & John Parish), and Lucas Chauvière (De La Soul). As evidence of things being meant to be, each freely chose the same track Victoria+Jean had intended and hoped for them; a move and success which only adds to the album’s vastly diverse and eclectic character.

Divine Love opens with its title track and the duo’s new single. Within seconds the electronic mystique and ambience of the track has ears and imagination enthralled, the sixties cinematic drama in tone and air providing a great sense of mystery reinforced by the celestial caresses of Victoria’s mesmeric vocals. The gentle and elegant jangle of guitar equally brings rich suggestiveness to the enveloping theatre of dark charm and atmospheric tempting. There is no escaping a Portishead like essence to the bewitching encounter though equally artists like Propaganda and in a small way The Sugarcubes also offer their scent to its evocation.

It is a glorious start followed by the ridiculously irresistible Holly. From an initial lure of fuzzy guitar and mischievous beats, the song soon swings along with a virulent infectiousness which barely needs a handful of seconds to have hips swaying and spirit smiling. Victoria’s voice dances upon the compelling strands of sound, mixing composed moments with soaring harmonics as rhythms dance with addictive tenacity. As provocative in word as it is in sound, the track is sensational; growing with each twist of its musical theatre and lust inspiring alchemy.

Big Billie comes next, coaxing ears with raw blues guitar before thumping rhythms surround the tangy expressive tones of Victoria. Jean’s imagination continues to weave a sultry web of sound and enterprise to surround the tribal beats and descriptive vocals; a provocative blend playing like a mix of The Creatures and My Baby. Enthralling and igniting the senses it makes way for Until It Breaks and its brooding climate of sinister shadows and electronic espionage. As all songs, it has the imagination casting its own adventures to align with that of the song itself, sparking closer involvement between ears and song which is echoed again by Why Won’t You and its delta blues laced tango.

Across the fiery sonic and rhythmic trespass of Your Baby Don’t Know Me and Firecracker, things only get more boldly flirtatious and grouchily confrontational. The first is a prowling beast of a track with a touch of De Staat to its predacious noise rock infested waltz whilst its successor, while employing a similar dark rhythmic throb, courts techno fuelled ingenuity. It is a collusion which just gets more dynamic, agitated, and schizophrenic across its three body involving minutes, like its predecessor inciting a greedier appetite for Divine Love before a haunting beauty cast with a vibrant calm hugs ears through Härligt Sverige. Tantalising harmonies float around the poetic tones of Victoria, they skirted by resonating beats and the low key repetitive niggle of guitars. Winy tendrils vein the piece too; Jean creating an increasingly climactic drama matched by the vocal emotion equally gripping attention.

Ears and pleasure become engrossed in more blues bred invention through Takes You Like A Rose and Where We Belong next, the latter tempering the flavour with a bewitching folk seeded hug of melody and harmony before creating a tempestuous showdown of sound and emotive theatre. It is a glorious slice of aural cinema, again visual interpretation quickly inspired by the song and indeed Pull The Trigger which follows. Rhythms and percussive enterprise tease and play with ears before hitting an imposing stride entangled in sonic and vocal imagination. Anthemic and intimate within every writhing twist and turn of its excellent proposal, the track is like a hex on body and thought.

Closing with the epic spatial and atmospheric romancing of Define Love, an immersion into electronic and vocally harmonic reflection, Divine Love is one of the most enthralling and in turn invigorating releases heard in a long time. Every song provides an individual and compelling exploration still revealing fresh rewards after numerous listens. The album has plenty for fans of blues and rock ‘n’ roll, ambience and electronica, pop and dance and with a host of videos also accompanying each song, Divine Love is nothing less than essential listening and viewing.

Divine Love is released April 29th via FY Records at https://itunes.apple.com/be/album/divine-love/id1089239770?app=itune and across most online stores.

http://www.victoriaplusjean.com   https://www.facebook.com/victoriaplusjean

Pete RingMaster 26/04/2016

Copyright RingMaster: MyFreeCopyright

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