Attack The Day – Felons EP

Pic Michal Spigiel

Pic Michal Spigiel

Attack The Day is another of those bands with a sound which defeats exact tagging due to its nature and eagerness to weave in a host of diverse flavours. The Northern Ireland hailing quintet, though it might be that they have lost a member since recording their new release,  are generally classed as alternative metal/rock but as Felons shows, they have the snarl of punk, the rousing tenacity of raw metal, the swing of funk, and the unpredictable character of post rock in their invention. The band’s second EP is an ear pleasing, imagination sparking encounter which captivates more and more with every listen.

Formed in Enniskillen in County Fermanagh in early 2012, Attack The Day soon developed a hunger to play live and soon had their local scene won over. Inspirations come from the likes of Sum 41, Mallory Knox, Maximum The Hormone, Slipknot, The Blackout, Gob, and Korn which alone gives you a hint to the variety in their sound. Last year saw debut EP This Is How It Ends released, its singles finding play and support on various radio stations such as IUR FM and RTE 2XM. 2015 also saw the band touring Ireland and play support to Suddenly Human. Now it is Felons poised to stir up further attention, a success easy to assume with its creative step on from its predecessor.

ATD - _RingMasterReviewFrom its opener, the EP shows a new expansion and invention in the Attack The Day sound as We Are The Change grabs ears with a sonic clamour and a tide of group roars. From there the lead vocal of Dáithí Murphy steps forward within a busy hustle of riffs and firmly jabbing rhythms which is part punk, part heavy rock, and quickly infectious. There is no mistaking the appetite sparking attitude soaking the song, but a challenge bound in spicy grooves from guitarist Mark Cadden as Ciaran Fitzpatrick’s bass throatily prowls the intimidating beats of Shane McGovern. Not for the last time, the punkish hue to a song within the EP, hints at a Stiff Little Fingers like growl to add further temptation for ears to embrace.

It is fair to say that the first song is a relatively and enjoyably straight forward slice of raw rock ‘n’ roll, something its successor Bridges I Burn certainly embraces while revealing the more off kilter imagination of the band. Its relatively mellow start is soon a lively funk fest of grooves and energetic rhythms, but a revelry which in turn sparks vocal animosity and imposing metal bred intensity. It is a passage of invention which repeats with increasing potency, every round revealing a fresh essence and spice within the adventurous exploits.

Epidemic follows that compelling proposal, bringing its own creative captivation with elegant melodies and suggestive beauty, the instrumental a warm yet melancholic caress of the imagination and senses before Part To Play springs its irritable metal and post hardcore causticity on ears. The slightly dour tones of Murphy work a treat against the fiery nature of sound and the band’s bullish harmonies, but the unpredictable character of the song soon has ears and thoughts buzzing in other ways. Slips into ska seeded swings and atmospheric caresses are great moments matched by the contrasting and corrosive winds of sound and intent which also wash across the senses, each providing a fascinating and successful piece in the inventive jigsaw of the track.

The EP is concluded by the boisterous rock stomp of Who We Are, a song emulating the first in providing an anthemic punk ‘n’ roll charge which just hits the spot. It is a great end to a thoroughly enjoyable second encounter with Attack The Day. Fiercely agreeable on the ear, the release also highlights the potential within the band, a promise and quality hard not to see making a bigger impact on the British rock scene ahead.

The Felons EP is released 20th May, available @ https://attacktheday.bandcamp.com/releases

https://www.facebook.com/attackthedayband/   https://twitter.com/_AttackTheDay

Pete RingMaster 18/05/2016

Copyright RingMaster: MyFreeCopyright

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

Bluesness – The Last Valley Of Jupiter

Bluesness - The Last Valley Of Jupiter - cover_RingMasterReview

Bluesness comes from Porto in Portugal, a quartet with a sound living in character up to their name. Their style of blues is a flavoursome mix of modern and traditional embracing an instinctive catchiness which grabs ears with swift success. The Last Valley Of Jupiter is the band’s debut EP, and a highly accomplished ear pleasing introduction to a band it has proved to be.

Formed last year, Bluesness consists of vocalist Sara Jimmy, guitarist Ricardo Marques, bassist Vasco Pereira, and drummer Rúben Fernandes, a foursome bringing almost a decade of live and studio experience between them to the band. It is easy to hear that depth in experiences and know how within The Last Valley Of Jupiter, a strength on show straight away with opener My Kind Of People. Quickly maturity in songwriting and sound entices yet equally there is the hungry essence and bold imagination which comes with any new project. The track’s laid back start is a coaxing soon draped in sultry grooves with a fiery touch to their seductive tempting. The slow swing of the bass is just as welcoming, it providing great company to the instantly attractive and similarly delivered vocals of Jimmy. With the craft of Marques leaving trails of sonic flame behind his solo for extra spice, the track is a rich start to the release.

The EP’s title track saunters in next with the guitar spinning a web of enflamed grooves and smouldering melodies straight away as rhythms again share an inviting slow swing. Like a controlled fire, the song gently burns with emotive suggestiveness and sizzling flames of individual invention, it never quite finding the spark to match the energy of its predecessor but still captivating to the same degree before the southern rock spicing of Way Down meanders in on another seductive melody. There is a touch of My Baby to the song though Bluesness stays away from the more delta inspired textures of the Dutch/New Zealand bred band whilst serenading the ears.

Closing with the feistier canter of Dis-Connections, a piece of evocative rock ‘n’ roll as much a romance on the ear as it is a tenacious incitement on hips, The Last Valley Of Jupiter is a quickly and increasingly pleasing introduction to Bluesness. We cannot say that the blues is our forte here, but we know what we like and The Last Valley Of Jupiter easily fits the bill.

The Last Valley Of Jupiter EP is out now @ https://bluesness.bandcamp.com/

https://www.facebook.com/BluesnessBand/

Pete Ringmaster 18/05/2016

Copyright RingMaster: MyFreeCopyright

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

Scare The Normals – Creepy Brainfood

Pic  Steven Clark

Pic Steven Clark

Providing Creepy Brainfood and plenty to keep ears and imagination excitedly busy, the second album from UK sextet Scare The Normals recently saw its outing on CD to back up its already potent digital release. The album brings thirteen socially conscious off-kilter boogies together for a warped adventure fuelled by the band’s unique fusion of electro, funk, hip hop, and psych rock ‘n’ roll, and that is to simplify their mouth-watering engagement.

Hailing from Bury St Edmunds, Scare The Normals first caught our years with their contribution to the excellent This is the sound of Sugar Town album, a compilation of bands currently lighting up the Suffolk market town’s musical landscape. Their track Tomorrow was a slice of sonic magnetism which in hindsight only gave one aspect to the band’s sound now being enjoyably discovered upon the kaleidoscopic Creepy Brain Food. With thanks to Seymour Quigley of Horse Party, another of the town’s essential propositions, who sent the release our way, Creepy Brainfood offers more aural flavours and imagination drenched hues than a Rio carnival.

It starts with Enter the Temple, a gateway into the album through voice and resonance initially but soon becoming a throbbing lure with warning sirens and sonic squelches. Vocalist/MC, like a side show barker, makes the final invitation before the listener finds himself lost in and absorbed by in the funky saunter of Four Hornets and a Goose. Carrying a Disraeli and the Small Gods feel to it, the song strolls along with a swinging body and sultry flirtations of guitar, its pulsating psychedelic coated body ridden skilfully by Illinspired’s insightful lyrical and rap prowess.

By its close the song has the body and imagination firmly involved and ready to embrace the jazzy funk revelry of Heavy Grammar. As in its predecessor, a throaty bassline from Mikey BassandStuff spines the rhythmic shuffle of Simon Chapple around which Gish’s guitar, with a host of other electronic and fuzzy textures, dances with infectious enterprise. Nineties band Honky comes to mind during the track, but fair to say a passing thought again in something unique to Scare The Normals with the vocal blend as persuasive as the tapestry of aural flirtation around them.

Scare The Normals - Creepy Brainfood cover_RingMasterReviewThe following Deeper Water is the first track to feature a guest appearance from Deftex legend MC Chrome. Straight away it has a swampy air and feel, a glorious thick bluesy tempting which soon blossoms exotic textures and Eastern melodies in its elegantly flowing body. The union and contrasts of the two vocalists is just as mesmeric, their raps at times almost mischievously duelling especially leading up to and during sizzling eruptions into rock ‘n’ roll devilry. The track transfixes as it gets hips swaying, a reaction the album manages to majestically achieve at every twist and turn including through next up Naga Viper. Predominantly a celestially lit instrumental with again worldly aural colours gracing its bubbly jazz funk, the song simply romances the imagination before Brass Leaf shares its suggestive drama of sound and word to repeat the previous rousing alchemy at play with its own individual carnival.

Through the short punk theatre of Dicky Metcalf Pawned his Pistol, a track playing with a Ripping Yarns like mischief as it touches intimate tragedy, and the even briefer noir lit meander of Bob’s Passion, Scare The Normals reveal more of their diversely adventurous exploration and theatre. Shaped by their bold imagination, each provides a new pasture to embrace with samples and dizzying spins of wax by Dr. Ughh adding to the ear gripping fun.

The album continues with its title track; another song breeding rich evocative shadows around poetic melodies and suggestive keys while sharing a darkly hued tale which crawls through ears into the imagination and psyche. The track is superb, a spellbinding hug as sinister as it is seductive and irresistible.

Luminous Footprint comes next with sonic and electronic spatters of sound almost as candescent as its title suggests. The bass brings a Cure like tone to the emerging track too, reinforcing its initial lure before another funk infested tango lifts feet and sparks hips into flirtatious motion. The Pigbag-esque instrumental borrows body and spirit with ease; passing both when finished on to the fleeting throbbing bass led swing of Sarcastic Fringe Head. One minute in length the track again has swift involvement drawn and carried on by the excellent Tomorrow. Maybe providing the biggest twist within Creepy Brainfood, the song is an enthralling enticement of electro rock with an eighties air recalling the likes of The Normal and Naked Lunch. Its mysterious electronics and prowling rhythms lay the seeds to a compelling infestation of the passions, attitude laced vocals and sinister almost cinematic sonic endeavour completing the inescapable lure of the thrilling encounter.

The psychedelically glazed soundscape of New Adventure brings the album to a close, Chrome again guesting with alongside DJ Tags. Their vocal craft including that of Illinspired creates a spiky and stirring jab to a track which gracefully envelops the senses if with a slight edge to its mystical floatation. It is a great end to an album which just grows and shines brighter with every listen, each venture finding something new to explore and become intimate with.

Scare The Normals are like few other bands, if any, and Creepy Brainfood a journey through unconventional pastures of sound and imagination which everyone deserves to get a helping of.

Creepy Brainfood is out now @ http://scarethenormals.bandcamp.com/

https://www.facebook.com/SCARE-THE-NORMALS-60881200139

Pete RingMaster 17/05/2016

Copyright RingMaster: MyFreeCopyright

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

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

Fallen Eight – Rise & Grow

FE_RingMasterReview

Fallen Eight is a Paris based quintet reminding all of the strength of the French underground metal scene right now. The band recently released debut EP Rise & Grow, a collection of songs gripping ears whilst being fuelled by attention grabbing potential. It offers six tracks which at times ignite the passions and in other moments leaves ears merely richly satisfied with the band’s unsurprising yet refreshing metal bred exploits, but from its opening second to its rousing last it only sparks a want to hear more.

Formed towards the rear of 2011 in Seine et Marne, Fallen Eight quickly set to writing and honing a sound merging the rousing essences of extreme and melodic metal with those of heavy rock. Within a year, they had the Paris music scene in their sights as locally they continued to be a potent live presence. Playing their first shows in the capital from 2013, Fallen Eight has gone from strength to strength in sound and support found, getting to the final stage of FallenFest that same year. The next year saw the band work on their first demo and open up for Black Bomb A while 2015 saw a line-up change within the band; vocalist Clément, lead guitarist Medy, and drummer JP joined by guitarist Florian and bassist Joffrey. That year ended with Fallen Eight having supported The Arrs and preparing for the release of Rise & Grow, which now is sparking a keen fuss and its initial teaser in the shape of the single Final Shot.

The EP opens with a bang, the band setting its stall out in sound and quality straight away with Reborn. From an initial vocal cry, quickly surrounded by feisty riffs and senses whipping rhythms, the track rumbles and growls; attitude and ferocity swift hues to the early Skindred like air of the song.  Almost as quickly its character evolves and expands as the band sweep across the senses with melodic tenacity without defusing their almost post hardcore meets melodic metalcore confrontation. Clément’s vocals impress as much as the musical craft and imagination revealed by the band, all combining for a powerful and thickly engaging opening to Rise & Grow.

EP Rise & Grow_RingMasterReviewThere is certainly some very familiar textures and essences to the song and indeed EP, but something to embrace as another flavour rather than admonish a song for as shown with Come From The Sky. Initially the second song caustically bellows with raw throated vocals to the fore but is soon in the process of weaving in clean harmonics and melodic imagination, subsequently alternating the contrasts thereon in. Whether the coarse vocals attack is also from Clément we cannot tell, the diversity suggests not, but whatever it is a major part of the band’s success and the enthralling tapestry of songs.

Leaving a Linkin Park feel in its wake, the excellent track is soon eclipsed by the EP’s best track, Final Shot. Its rhythms and riffs border the carnivorous, grooves and sonic enterprise the seductive, and all orchestrated by the outstanding and rousing vocal incitement of all involved. Listening to the track, you can visualise audiences swelling and rising as one to the track’s incendiary chorus alone, and especially the anthemic line incorporating the its title.

In some ways the EP is a proposal of two parts, the first trio of songs inciting the biggest reactions in personal tastes though that does not stop Breath Of The Ages making a powerful impact and keeping enjoyment on a lofty plateau. It just seems like the uniqueness of ideas are slimmer and less striking in the final trio, a spark missing, but as the fourth track reveals as it comes close to matching its predecessors, creative drama is as open and fascinating as ever. The irritability in sound and nature of the song is another virulent lure too with the vocals and individual prowess of all shining through.

Light prowls the senses next, its first riffs and grooves predatory before being reined in by a bluesy spicing to grooves and hooks as the band share some Avenged Sevenfold flavoured classic and heavy metal resourcefulness. It too has ears and appetite hooked before Worst Nightmare brings the release to a raw and ravenous close. The most aggressive and tempestuous track on the EP, its shows that Fallen Eight can savage the senses as skilfully and eagerly as they can seduce them with melodic imagination.

It is a fine end to a richly pleasing encounter from a band with the potential to indeed Rise & Grow to big things.

Rise & Grow is out now through most online stores.

https://www.facebook.com/FallenEight   https://twitter.com/FallenEightBand

Pete RingMaster 05/05/2016

Copyright RingMaster: MyFreeCopyright

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

Dead Man’s Hand – Till Karma Forgets

DMH_RingMasterReview

Not to be confused with seemingly many other bands with the same moniker, Dead Man’s Hand is a band bred in the Seattle music scene but it is fair to say really hit their stride once its founders relocated to Kansas City. Now they are poised to release their new album Till Karma Forgets, a twelve song strong slice of raw rock ‘n’ roll which maybe does not leave ears awestruck but certainly provides them with a thoroughly enjoyable time.

Formed in 2012 by vocalist/guitarist Kasey McGrew when he teamed up with guitarist Bret Palmer, Dead Man’s Hand struggled with finding the right line-up initially; that was until the pair moved to Kansas City the following year where they found bassist Jeffery Kent and drummer James Aguiar. Soon the band found itself sharing stages with the likes of HURT, PopEvil, and The Dreaming at venues such as The Voodoo Lounge and Granada. 2014 saw Dead Man’s Hand touring with Burning and win Best New Artist in the Midwest Music Awards. Last year saw a second tour for the quartet, plenty of radio play, and more nominations at the 2015 Midwest Music Awards. Now following up an earlier demo EP with the same name, the band is poking at broader awareness for their accomplished and fiery rock ‘n’ roll with The Pavement Entertainment released Til Karma Forgets.

The album opens with the groove bound Hangman, a track making a controlled entrance before sauntering into the imagination with mellow lures entangled in more incendiary strikes of guitar. The vocals of McGrew, potently backed by Palmer’s strong tones, emulate the sound around them, crooning at certain moments and roaring with thick emotion in the songs eruptions of intensity. Easily revealing the unmistakable craft and skills of the band whilst pleasing ears, it is a great start to Til Karma Forgets backed as powerfully by the excellent Lock & Key. Grungier hues crowd the hard and melodic rock body of the song, all magnetic spicing adding to a great stock in grooves and rhythmic enticement around another catchy chorus. Whilst eclipsing its predecessor, a touch of southern goodness also comes out with the song overall reminding a touch of fellow US rockers Resin.

DMHart_RingMasterReviewPaint A Picture is a calmer emotive proposition next, vocals and melodies wrapping ears as feistier flames occasionally rise up around them whilst So What offers a grittier tempting of blues and hard rock which prowls ears with expressive guitar and vocals taking the lead. Its snarl only increases in its rousing chorus where the irritability, which seems to fuel bass and riffs throughout, adds more oil to the blaze.

Through the spicy grooving of Veto and the attractive intimidation of Wash Away, band and album keeps pleasure and appetite as keen as ever. The first of the pair is an especially unpredictable and magnetic affair as at ease aggressively growling at the senses as it is seducing them. Its successor evolves from a seriously coaxing lure from Aguiar into a predator with hungry riffs, and the still boldly rolling bait of beats, courting a less imposing vocal delivery. It is a great mix with the dark shadows and the song’s natural predation alone whipping up the passion as it steals best song honours on Til Karma Forgets.

Its title track comes next and it too marks a particularly memorable peak in the landscape of the album, carrying a slight Life Of Agony feel to particularly its more emotive and restrained moments. Despite its grouchiness and aggressive elements, there still feels like there is beast still trying to escape, and if there is any moan about the album it is that it does not fulfil the great and open potential to unleash this instinctive ferocity. Nevertheless, the track rocks like a disturbed bear before a milder but no less resourceful stroll with Slide Of Hand leaves ears thickly satisfied; guitars especially spicy and flavoursome within the encounter.

Another inviting strain of blues rock colours the swiftly infectious Beneath The Dirt next, where whiffs of Nirvana and Sick Puppies tempt thoughts. The track is yet another addictive episode in the album; a track, which like Til Karma Forgets as a whole, might not be venturing into unique pastures or setting the world on fire but without doubt leaves the listener gripped and hungry for more of its unbridled rock ‘n’ roll.

Through the scorching blaze of Masquerade and the emotively melodic Broken Ground, things continue to richly entice and firmly please; the first of the two another notable proposition, with Not For Nothing closing up the album in fine style too with its captivating, impassioned, and tempestuous balladry.

Though the album is missing that last spark or bite of intensity to really ignite the passions, it is not too hard to expect Dead Man’s Hand finding a host of new fans and plaudits with Till Karma Forgets, a release which offers honest rock ‘n’ roll with heart and quality.

Till Karma Forgets is released April 29th via Pavement Entertainment through most online stores.

https://www.facebook.com/DMHMUSIC

Pete RingMaster 29/04/2016

Copyright RingMaster: MyFreeCopyright

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

Astral Cloud Ashes – Flashback

Flashback (artwork)_RingMasterReview

Having made a strong and captivating introduction to itself with the single Too Close To The Noise Floor, the Channel Islands hailing Astral Cloud Ashes are about to follow up that success with Flashback. Providing another potent teaser to a forthcoming debut album, the new single also reveals another dynamic and colour to the project’s songwriting and sound. Whereas its predecessor was a lively stroll of infectious enterprise and energy, Flashback is a calmer and mellower emotive engagement and just as magnetic.

Astral Cloud Ashes is the new project from Antony Walker, one half of the duo Select All Delete Save As which especially earned deserved acclaimed with their album Ultra Cultura in 2014. Walker has been exploring his own solo creativity for a while, often under the name ALPA, amongst other monikers, but as quickly suggested by his first single as Astral Cloud Ashes, this new venture is one with the potential to match and even eclipse the previously mentioned ‘day job’ band. Sound wise Walker draws on inspirations from the likes of The Cure, Bloc Party, Interpol, At the Drive In, Mars Volta, and Say Anything for an indie/pop/rock persuasion, presumably self-tagged, as future-core.

Flashback caresses ears with a lone melody initially before the guitar is swiftly joined by a heavily shadowed bassline and floating melodic enterprise. At the same time, Walker provides an introspective narrative as gently provocative and ear pleasing as the harmonic embrace of sound around it. Guitar jangles, crisp beats, and emotive toning subsequently add to the web of alluring textures building the captivating proposal; a song wearing varying shades of The Lightning Seeds, Pavement, and Dinosaur Jr. to its melodic and evocative charm.

The track is a warm and fascinating encounter showing, as suggested earlier, another aspect to the band and offering another reason to keep an eager ear open for the first Astral Cloud Ashes album later this year.

Flashback is released May 4th across all major online distributors.

https://www.facebook.com/astralcloudashes/

Pete RingMaster 29/04/2016

Copyright RingMaster: MyFreeCopyright

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