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

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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

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Jingo – Sweet Anne

jingo_RingMasterReview

There are quite a few bands which spark an extra buzz of anticipation when approaching their new offerings but it is hard to think of many which cause the kind of excitement that a new Jingo song does. The UK band is one which just seems to get bigger, bolder, and more essential with every song; a success reflected in the strength of eagerness to tackle each proposal. It is because of songs like new single Sweet Anne that this almost lustful reaction escapes not only from us but a great many others; and because of songs like this that it is hard to see things changing anytime soon.

London based Jingo have never been slow in sparking big responses to their music, from their early songs like 1q84 and Black Flowers around 2013, through many subsequent tracks  and their outstanding debut album The Art of Loving on to the outstanding Ghost In The Machine EP of last year. The band has persistently grown in sound and temptation whilst nurturing an increasingly fascinating weave of flavours into their unique style. Sweet Anne is no exception to the rule and right now as it blasts in ears again whilst finger dance on keys, is declaring itself as quite possibly the finest four and a half minutes of the band’s creative life.

Sweet Anne artwork_RingMasterReviewStraight away the song is a virulent persuasion of the vocal prowess of guitarist/vocalist Jack Buckett and his wife and vocalist/keyboardist/guitarist Katie. As the music, the vocal pairing, with Katie a temptress against Jack’s expressive captivation, is a distinctive element in the creative webs cast by Jingo, just as compelling as the sounds conjured. Around their harmonic union in a relatively gentle start by the song, the rhythmic shuffle of Nima Safai and Michael Hussain is just as ear catching. As great as its entrance is though, things only get spicier and more irresistible as a suggestive melody harkens an even livelier flirtatious shuffle with tenacious rhythms colluding with Katie’s dynamic tones as strands of melodic wind enticingly weave around the lot.

The song, like the band’s music generally, is not a proposition to stand still and bask though, it then erupting into a feverish and fiery blaze of rock ‘n’ roll led by the rich vocal flames of Katie’s roar backed as potently by Jack and co in their individually skilled ways. That is not the end of it either, a repeated cycle takes the listener into another passage of rhythmic agitation amidst sonic and melodic ingenuity that only adds to the unbridled pleasure found and devoured.

Jess & the Ancient Ones is a band which our thoughts often turn to as a hint to the drama and adventure found in a Jingo song and sound, and in some ways here is no different yet it is hard to imagine they or any others one might offer in comparison, with respect to each, bringing ears and the spirit to the boil as often and gloriously as Jingo seem to and certainly do with Sweet Anne.

Sweet Anne is out now and streaming @ https://soundcloud.com/jingomusic

https://www.facebook.com/jingomusic   https://twitter.com/jingomusic

The single also features the wonderful artwork of Katie Buckett who is holding an exhibition of her portraits at the Lacey Contemporary Gallery in London.  Opening night is on 27th April from 6-8 and the exhibition runs until 15th May. More details @  http://www.katiebuckett.com/ and https://www.facebook.com/events/227725037574069/

Pete Ringmaster 20/04/2016

Copyright RingMaster: MyFreeCopyright

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Me Like Bees – There Will Be Time

promo photo_RingMasterReview

It might only be four songs, but there have been few as vigorous work-outs for neck muscles and hips than There Will Be Time, the new EP from US indie rockers Me Like Bees. Feet and voices too are easily involved and pushed to their lusty limited by the quickly addictive offering from the Joplin, Missouri quartet. The EP is quite simply a summer’s party in the ears and an excuse for the spirit to find something to smile about in any day.

Formed in 2009, Me Like Bees has devoured the American landscape over the years playing hundreds of shows across states. Equally from the release of their self-titled  EP in 2011 through their acclaimed debut album The Ides two years later, the band has had only keen attention and a lively growing fan-base for their virulent indie rock/pop proposals. That same year saw the band begin the route to winning the Ernie Ball Music Man Battle of the Bands whilst 2015 was marked by Me Like Bees playing a leg of the Van’s Warped Tour. More success and eager spotlights are sure to turn the way of the band this year with the release of There Will Be Time alone. Recorded with award-winning producer, John Feldmann (Five Seconds of Summer, The Used, Panic! at the Disco, Goldfinger, Good Charlotte, Plain White T’s), the EP just infests ears and emotions, infects the psyche and body, and takes the listener on a tenaciously contagious ride.

TWBT Large Cover _RingMasterReviewOpening with Changes, band and release instantly have a wiggly body and attentive ears on its hands, the song flirting with harmonies and melodic jangles as keys add their smiling spice to the coaxing. The engaging tones of vocalist Luke Sheafer simply add to the tempting as the darker lure of Nick Bynum’s bass prowls with mischief in its intent. The song’s swing is relatively gentle but becoming more tenacious as twists and turns grip the transfixing encounter, Timothy Cote’s beats a pungent incitement to the web of melodies and jangles cast by the guitars of Pete Burton and Luke Sheafer. Like a mix of Billy Momo, Arcade Fire, and Late Cambrian, the track simply enslaves before Tundraland slips in with voice and melody as another rich enticement.

A folk pop vivacity fuels the second song, though as with the first, the band weaves an array of flavours into their seriously catchy drama of sound and persuasion. Again vocals are as impressive and potent at whipping up attention and eager involvement as the vibrant sounds around them; a blend producing the kind of pop ‘n’ roll that given the chance will have crowded landscapes bouncing.

The EP’s title track is the next to seduce ears; vocals and an acoustic romancing the first kiss as an array of wispy and flirtatious sounds are glimpsed around them before throbbing beats bring the full creative heart of the song into full view. Even at its broadest moment the song is a bubbling smoulder but equally as infuriatingly and yes thrillingly catchy as anything on the release before drifting away for the excellent Southern twanged folk rock stomp of Hymns and Blues. Again check for a pulse if anyone listening to it is not bouncing in their seats or on their feet, the track a Class A addictive stirring up of bodies and spirit; a feel good factor does not even cover it.

It is a brilliant end to an equally invigorating and exciting proposition. There has been a few releases we suggest have the summer soundtrack written all over them, but There Will Be Time has put most if not all in the shade.

The There Will Be Time EP is released April 8th through most online stores.

http://www.melikebees.com   https://www.facebook.com/melikebees   https://twitter.com/MeLikeBees

Pete RingMaster 07/04/2016

Copyright RingMaster: MyFreeCopyright

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Gavin Chappell-Bates – We Are The Ones

GCB_RingMasterReview

The beginning of the year saw British singer songwriter/guitarist, Gavin Chappell-Bates unveil the video for new track Refugees. It was an ear catching offering also providing a teaser for the Cambridge musician’s forthcoming debut album. Now the release of We Are The Ones is upon us and fair to say if that earlier proposition spiced up the tastes buds there is plenty more highly flavoursome goodness to be found and feasted upon in the thoroughly enjoyable album.

The musical desire and devotion of Chappell-Bates is said to go back to the age of eleven and being inspired by Sgt. Pepper, an ‘awakening’ backed by “ his musical friends and a few early lessons by Ezio’s Booga.” Learning his craft playing in various local bands  which included Bokaata, The Deadlines, We Are Godzilla, and Up & Atom , Chappell-Bates decided to pursue a solo career in 2014, drawing on influences listed as The Beatles, Feeder, Aerosmith, Buddy Holly, The Bee Gees, Smashing Pumpkins, Our Lady Peace, and majorly Manic Street Preachers for his own creative adventures. The following year saw first EP, Black Holes released. Its attention provoking presence was followed by the singles 95 and We Are The Ones, each luring more eager ears the way of his emergence. Equally live he has been sparking strong praise and support around the UK, playing venues such as Bury St. Edmunds’ The Hunter Club, The Rescue Rooms in Nottingham, and in London the likes of Hoxton Bar and Sebright Arms.

Already earning strong radios play on BBC Introducing, BBC 6 Music, and XFM among many others and being was nominated for Best Male Solo Artist in the 2015 NMG Awards, Chappell-Bates is looking to now spark national awareness, something We Are The Ones certainly has the potential to give a potent nudge to. Produced by James Coppolaro, who with drummer Rob Gibiaqui (Sergey Lazarev, The Pinker Tones) plays alongside Chappell-Bates on the release, the album swiftly has ears keenly attentive with opener Church Of Rock ‘N’ Roll. A rousing and contagious slice of sound boisterously living up to its title, the song springs punk riffs and spicy hooks on ears as Chappell-Bates’ vocals lead its lively anthemic pull. It is a punchy and infectious start setting up an eagerness to hear more which the following All Ways more than satisfies.

Art_RingMasterReviewThe second song equally has an infectious swing to its presence whilst pursuing a more melodic/alternative rock imagination in its energetic persuasion. As with many songs there is a familiarity to the sound and nature of the song but equally a fresh essence that highlights Chappell-Bates’ own invention, the following 95 another example. It carries an air of the decade of rock spawning its title yet casts a vibrant pop ‘n’ roll flavouring which has the catchiness of modern rock pop flirtation. Its pleasing presence is matched in success by Refugee next, its initial gentle melodic caress growing in weight and intensity as keys shimmer in the background. Soon that brewing intent erupts in a fiery crescendo and chorus before repeating the cycle to engaging effect with Chappell-Bates’ vocals again a potent hue to his songwriting and its colourful realisation. A more subtle but increasingly provocative texture is provided by guest violinist Prue Ward and cellist Anna Scott, their evocative and here melancholic imagination a great spicing colouring a handful of tracks hereon in.

The album’s title track is another; its melodically reflective balladry evolving into a warm and inescapably catchy rock pop canter framed and steered by a robust and tenacious web of beats before making way for the acoustic tempting of Writing In The Sand and in turn the delicious spirit sparking incitement of Black Holes. The first of the songs has a sunny air to its infectious gait and a smouldering intimacy to its vocal and lyrical embrace whilst the second immediately has ears and imagination gripped with its opening throaty bassline and subsequent tone. A Nirvana-esque feel coats the beginning of the song whilst its emerging virulent stroll lies somewhere between Weezer and The Presidents of the United States of America, all essences combining to colour an encounter whipping hips and voice into eager involvement as it takes favourite song accolades on the album.

Dead End Disco Streets brings a great electronic spicing to its magnetic and physically buoyant temptation, indie and electro pop flavours uniting to embrace and dance with the equally spirited vocals before Follow The Light unveils its own animated serenade which dances with ears rather than laying sentimentally upon them though it is certainly emotively shaped and fuelled. As if any more proof was needed, the song is further evidence that Chappell-Bates knows how to write pop and rock songs which simply stir attention, proof swiftly backed by The Finest Hour and its Big Country like landscape of melodic and folkish hues.

The album concludes with firstly Last Angel, an emotionally intense country spiced ballad featuring the guest vocals of Kathryn James and keys of Jamie Brooks, and finally the acoustic/folk pop sparkle of Starlight. Both songs have brightness to their sentiment loaded proposals, especially the last which with a hug of strings is edgy and provocative as the best pop ballads always are.

Certainly some songs ignited more lusty reactions than others, but from its first note to last syllable, We Are The Ones is a proposition that can only be enjoyed from an artist with the potential to made big strides in the UK rock/pop scene.

We Are The Ones is released April 8th through R*E*P*E*A*T Records and @ https://gavinchappellbates.bandcamp.com/album/we-are-the-ones

http://gavinchappellbates.com/   https://www.facebook.com/GavinChappellBates   https://twitter.com/GChappellBates

Pete RingMaster 07/04/2016

Copyright RingMaster: MyFreeCopyright

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Your Illuminations – Hey Scarlet

Screen Shot 2016-01-06 _RingMaster Review

Your Illuminations is a UK band already making a bit of a stir with their anthemic rock/pop sound and now look set to trigger even stronger attention with the release of debut single Hey Scarlet. It is a song which has previously sparked eager reactions via its outing on YouTube, luring close to 1000 views in its first month, and is already luring a new host of fresh ears with its recent official release.

It is fair to say that the Yorkshire hailing trio of vocalist/guitarist Robbie, bassist Fink, and drummer Ric, has rapidly grown from a small local incitement to one attracting national spotlights since their first steps in 2014. From small shows, they have ventured upon two well-received UK tours with a third this month, and become the name on the lips of many. Later this year, the band will uncage their first EP, and if it is as potential drenched as their debut single, it will be a highly anticipated offering quickly becoming a source of keen attention.

Hey Scarlet takes barely a breath to grab ears with its early engaging wash of sound; jangly guitars and heavy rhythms uniting for an arousing introduction. The strong and impressing variety fuelled tones of Robbie swiftly add to the emerging depth and drama of the song; subsequently an aural theatre unafraid to mix relative calms and feisty expulsions with raucous imagination and craft. Every aspect of the track is carefully nurtured for thick enjoyment; from the great backing vocals, which seem female offered, to the anthemic roar of bass and guitar aligned to thumping beats and attitude loaded riffs and hooks, the track is a commandingly pleasing and resourcefully bracing proposal.

Whether Your Illuminations has a majorly unique sound yet is debatable but there is no doubting that it has a freshness and richness of texture that, certainly going by this one song, helps the band stand out. Ahead of their next bigger endeavour, Hey Scarlet makes for a striking first listen to a band easy to expect we will be hearing much more of.

Hey Scarlet is out now@ http://yourilluminations.bandcamp.com

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Pete RingMaster 16/02/2016

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Forty Four Hours – Only Just Holding On EP

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Pic ashley_bird_

Word of mouth has suggested there is a buzz brewing around a particular emerging talent from the city of Manchester; a suggestion backed up by the band’s UK tour last year, and now we can say that all good things heard about Forty Four Hours are true and more. Our evidence comes in the band’s debut EP, Only Just Holding On, a four track adventure of alternative rock ‘n’ pop that grips ears and imagination from so many angles that you need a map to pinpoint them all.

Formed in the February of 2014, Forty Four Hours consists of twin brothers Joe (vocals/keys/bass) and Alex Holden (vocals/guitar) alongside Alix Foden (drums). The band’s first single Earl Gray awoke numerous sets of ears and appetites for the band’s distinctive sound, a success matched by a quickly enthused over live presence incorporating that aforementioned tour around the UK amongst numerous more shows culminating in joining Funeral For A Friend on the Doc Marten’s #standforsomething tour. Last year saw the band, alongside continuing their hunger to play live, set about recording their debut EP; a release described by Joe recently as “a radical left turn from the bands earlier material. If anything, this record is quite a bit darker, it expresses a lot of stuff we’ve needed to say for the past year: writing it has been really cathartic. We’ve tried not to make you cry though. We really got to experiment with this record, so expect the unexpected.

44 Hours - JHO Artwork_RingMaster ReviewMusically it is hard to say the EP is a particularly dark proposition, its lively and busy enterprise an adventurous smile on the ears but certainly lyrically the band is unafraid to delve into emotive shadows. It opens up with Hold Out, a song quickly setting out the EP’s stall in sound, tone, and imagination. As suggested, the Forty Four Hours proposal is openly distinctive, something boldly away from the crowd though imagine Mallory Knox and The Police getting down and intense and you get a clue to the virulently contagious roar of their EP and sound. The opener makes its first touch with drama lined and slightly moody keys crossed by spicy guitar, their potent union continuing as the quickly gripping tones of Joe, backed as potently by the voice of Alex, capture the imagination with the song’s narrative. In no time the track has engulfed attention with its rich temptation of guitar and vocals alongside shadowy textures cast by bass and beats, it all laced with magnetic hooks and wrapped in an irresistible catchiness.

The following Difficult is of a similar breed but swiftly showing unique character with punchy beats aligned to funk bred guitar and bass enterprise. Soon throbbing with its thick contagion loaded swagger, the song also embraces more of the dark drama of its predecessor though it is cleverly tempered by sparkling keys and the increasingly magnetic vocal enterprise bred within the band. Like its predecessor, it has body and emotions exhausted such the involvement lured but Pressure & Sleep soon allows a breath to be taken with its mellower romancing of the senses. The third song is just as keen to weave bolder energy and tenacious creative deeds into its swinging shuffle though, resulting in another infectious seduction if with a modicum of reserve to its compelling presence.

The Time And The Place completes the line-up of Only Just Holding On; it another feisty romp as devilish for the dance-floor as a single set of speakers with Forty Four Hours only confirming their ability to write and sculpt songs that warmly demand attention and incite eager involvement from all before them. As the EP, everything about the song hits the sweet spot; all the time suggesting we have something special within our ears from a band with the potential to soon be a well-spoken name in the clutches of acclaim.

The self-released Only Just Holding On EP is available from January 22nd @ https://fortyfourhours.bandcamp.com/

https://www.facebook.com/fortyfourhoursofficial   http://www.fortyfourhours.com  https://twitter.com/FortyFour_Hours

Pete Ringmaster 22/01/2016

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