Late Cambrian – Golden Time

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Our introduction to US indie rock band Late Cambrian came with their Social Season EP and became a lustful attraction through second album Peach, a release offering a thrilling dance of vibrant personality with matching sounds and imagination. It was an encounter of at times stunning brilliance within a constantly refreshing and warm temptation which stirred up the passions within seconds of contact. Now the band returns with its successor Golden Time, a release bred from the same eclectic invention and making a potent first impression, but working with a slower more sultry seduction and smouldering pop vivacity reaches the same captivating heights. The album reveals another leap in songwriting and sound maturity without relinquishing the bands almost mischievous use of hooks and melodic grooves. It takes its time to reveal all its depths but Golden Time emerges as another irresistible proposition from the Brooklyn quartet.

Late Cambrian has continued to make impressive marks from debut album The Last Concert released in 2011, onwards. Their Social Season EP of the following year raised the bar and bred one of their most successful and greedily devoured songs to date, Ryan Gosling. It was with Peach though that John N Wlaysewski (lead vocals, guitars, synth, percussion), Nunzio Moudatsos (bass, backing vocals), and Olive ‘O’ Hui (vocals, synth) sparked a much stronger and global spotlight. Now with the addition of drummer Alex to its line-up, the band offers a new tantalising treat with Golden Time. The band has often been compared to Wheatus, who Late Cambrian are touring the UK and Europe with as this review is posted, but the new album shows a unique and distinctive bloom to its summery sound and presence, which flourishes in that maturity spoken off earlier.

The PledgeMusic funded release opens with an immediately enthralling and virulently infectious Throwing Shade. As soon as guitar stabs, with a tone quite distinctive to the band, crosses ears there is a warm glow in emotions and imagination bred from past experiences with Late Cambrian’s invention. There is the quirky manner and enterprise which fuelled the last album on immediate show but also a melodic elegance and relish which provides new scenery to indulge in. The welcoming and harmonically bracing vocals of Wlaysewski backed by Moudatsos and O, embrace like an old friend but again with a new hue to their enterprise and stature. It is a thrilling entrance which the song reinforces across its length with a transfixing wash of radiant keys and punchy rhythms, but it is the Steely Dan like caress, vocally and musically, which steals the deal.

The following title track is no less compelling and invigorating. Electronic pulses lead to a coaxing guitar twang, which in turn moves into a bold stride of crisp rhythms across rich and magnetic melodies. The song’s title fits the sound Golden Time album Artworkwithin it perfectly, the duet of vocals between Wlaysewski and O as seductive and bright as the feisty pop melodies dancing around them. Again there is a contagion to the song which is inescapable for ears and an energy enslaving feet but it is its melodic swing that ignites another hungry urge in an already keen appetite.

Illamasqua swiftly installs its insatiable persuasion next, rhythms and vocals the prime lure initially, before the song slips into a tenacious stride of jabbing beats and lively yet sultry keys. As with many songs on the album, there is an instant familiar breath and touch to it which by the close you realise is simply from the band having their own distinct sound and presence. Also noticeable is that the song hints it has a fire to expel but instead remains in its enjoyable smouldering. This happens a few times across Golden Times and though at times you wonder how things would go if the band had ignited that extra mystery spark, the album flourishes in its inventively controlled and imaginative calm.

Both Game Show and Now keep the creative and appealing flames in ears and emotions sizzling. The first is a gentle canter of a song with potent and varied vocals against eclectic melodies and unpredictable endeavour, all flirting around a deliciously throaty bassline, whilst the second flows with a slow seducing of mellow yet vivacious vocals within a web of sharp hooks aligned to wispy blues kissed melodies. Though neither quite grips the heights of certainly the opening pair of tracks, both shine with a blaze of charm and bold imagination before making way for the thrilling romp of Objects May Appear. Big riffs and beats dance with ears straight away, their tango irresistible and only enhanced with the joining of similarly jaunty vocals from the band in turn. There is no escape for body, voice, and emotions to the album’s anthemic lure, the track a beguiling and fascinating stomp taking best song honours.

DYBIL with its crystaline melodies alongside riveting vocals and harmonies, provides a powerful romance for ears and senses to immerse in and passions to grow for whilst the following acoustic hug of the emotive Montauk simply whisks the imagination off on a seductive waltz to leave satisfaction brimming. Both reveal more of the evolution in, and growth of, enterprise and songwriting within the band before Shiny Cars brings the album to a healthy close. The outstanding final song has a thick and heavy resonance absent from much of what came before which again only offers another enjoyable shade to the album, whilst it’s gentler but lively vocals and melodic adventure only declares that this is a band coming of age.

There is no go for the jugular stand-out on Golden Time, no jaw dropper like Ryan Gosling or Wolf, but every track has a body and heart which outshines plenty of Late Cambrian’s impressive catalogue and combine for the band’s finest moment yet. For beautifully sculpted and dramatically radiant rock pop it is hard to think of many better offerings this year than Golden Times.

Golden Time will be available in November, for more details and remaining dates on their tour with Wheatus and  MC Frontalot go to

RingMaster 17/10/2014

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Late Cambrian – Peach

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Cradling thoughts and emotions in a hug of melodic enterprise and magnetic warmth, Peach the new album from US indie rock band Late Cambrian is one exciting thrilling dance of vibrant personality and matching sounds. An energetic brew of alternative rock, mesmeric pop, and indie individuality, the second album from the band holds moments of sheer brilliance within a constant wash of imaginative and infectious excellence. Across its landscape of summer driven sultry sounds passions are ignited and ardour bred for an album which leaves a lasting glowing imprint on the senses.

Since the release of their debut album The Last Concert in 2011, the Greenpoint, Brooklyn band has stepped upon a steady and potent rise, the album receiving rich acclaim at home and abroad, especially in Japan, whilst the band has won numerous awards and had songs placed in shows such as The Real World and Married To Jonas. Their video for the song Ryan Gosling pulled in massive numbers being picked up by BlankTV and THECOOLTV, and the trio of John N Wlaysewski (lead vocals, guitars, synth, percussion), Nunzio Moudatsos (bass guitar, backing vocals), and O (Vocals, Synth), made big impressions at festivals such as The KahBang Music Festival, The Dewey Beach Music Conference, CMJ, and The Popfest along the way. It has been a heady time which Peach will surely reinforce and accelerate upon its release on April 30th.

The album opens with the teasing tones of Lovers Point, its initial quickstep of firm rhythms and fibrous guitar strokes soon LC Peach Album cover 1wrapped in great vocal harmonies. Taking a small breath for the vocals of Wlaysewski to begin the narrative within a warm hug of elegant melodies and entrancing synths, the song lifts its feet for a strolling flow of aural smiles and keen bounce to its gait. It is an irresistible welcome into the album, its demands minimal but rewards plentiful in their engagement and energy.

The tease of The Label Needed A Single wraps its mischief around the ear next, a groaning bassline veining another heated swerve of infectiousness and melodic enticement. Already two tracks in and references to Wheatus are unavoidable but as this track shows there is more to their imaginative devilment to avoid being so singularly tagged. Part pop punk and fully anthemic pop, the song takes the ear and passions to a hop of fluid irrepressible moves and sounds with an intent to raise others energies and voice in tandem to its own securely successful, something which you can lay at the feet of next up The Year I Cut The Cable too. With a swing to its jazz pop eighties whispering romp, the track exchanges heated ardour with the heart, the dual vocal tango of Wlaysewski and the delicious tones of O, her voice another standout glory of so many on the album, exploring song and listener with buoyant enterprise and keenness to match the sounds.

The pinnacle of the album follows in The Wolf, for this heart one of if not the best melodic thrill heard this year so far. As a fiery guitar opens up the airwaves and beats pounce upon the ear there is an immediate hook which the throaty bass and captivating gait of the vocals sends deeper into thoughts and emotions. The track is simplicity turned into a virulent conspirator to the passions, the wanton whisper to the twin interchanging vocals and Eastern delight lined lure playing in the background, epidemically anthemic.  Everything about the song is magnificent, pop at its most potent and triumphant and another where the varied and seamlessly twisting devilry has the voice and body of the listener adding their, in my case, blasphemous contributions.

Following such a powerful piece of brilliance would mean a dip for most releases but the likes of Patience Of A Monument with its gentle hazy aired persuasion and Made for Love, a track with a beginning which reminds of Wham!, sorry but it does, and goes on to coat the listener in a rich wash of hot melodies and pop punk sinew, without reaching the same heights have their own distinct plateaus of enjoyable textures and absorbing presences. Featuring guest appearances from violinist Tracy Bonham, Kevin Salem on elbow guitar, and Jack Hsu (The Hsu-Nami) on the erhu, the song is an emotive pleasure with a wonderful instrumental closure.

The track Ryan Gosling has led the band to stronger recognition as much as any song and again is a major force upon the album, the bulging rhythms and wickedly crafted hooks a charismatic grip laying an incendiary canvas for the equally galvanic vocals and harmonies. As with all the songs there is an honesty and lack of complication to the track which allows its rich heart to make the strongest arresting enslavement on what by now is rapture for the album.

The remaining songs continue the scintillating joy and craft already reaped with tracks such as the acoustic led summery skip of Poetry, the sultry Recipe, and the glorious Hypgnotica-Afternoon Special stepping to the fore though there is not one weak or track on the album all just powerfully magnetic. The latter of this trio is an imaginative predominantly instrumental canter through hot and suggestive melodic climes with evolving variation and intrigue to its gait.

Closing with Luddite, another bewitching piece of warm, a closing vibrant sunset featuring guest vocals from Brendan Brown and Gabrielle Sterbenz of Wheatus, Peach is a slice of musical brilliance in quality and effect containing most likely the song of the year, quite simply a must have release…


RingMaster 21/04/2013

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Late Cambrian: Social Season EP

The Social Season EP from US indie pop band Late Cambrian, is one of those releases you cannot help becoming enamoured with, its vibrant and excitable pop heart a smiling and infectious tease. The EP offers up five songs which ooze eighties new wave and melodic pop flavourings within the mischievous personality of a Weezer. It makes for in Late Cambrian, a band which you feel you already know as a friend before even the end of the first song and a companion to bring out the inner smile.

The Brooklyn band were formed by ex- Flying Machines and The Attorneys, John N. Wlaysewski (guitar, vocals, songwriter) who alongside drummer Colin Schiller began recording their debut album The Last Concert in early 2011. During working on the songs the band saw the addition of O (synth, backing vocals), her glowing voice enhancing some of the later songs recorded. By late March the same year, the band made their live debut with bassist Nunzio Moudatsos (A Crimson Affair) also on board. Social Season is the first release with the full line-up and probably the first enterprising introduction for many to the fun sounds of Late Cambrian, but better late than never.

The opening track Ryan Gosling has already garnered good acclaim and responses as the first single from the release across the US and beyond. The song drives a thumping beat through the ear guided by contagious riffs and jangling melodies which only ensure eager attention. Once the shining harmonies and warm vocals play within the sounds the pull is irresistible and openly anthemic, defying all not to join in with the simple chants and chorus. To be honest like all the songs, it does not try to bend boundaries or break out into new inventive realms for indie pop, but certainly makes finding many rivals in the deep contagion stakes difficult.

The following Trash Show has a slight punk swagger to its boisterous presence to bring a mix of Arctic Monkeys, King Prawn, and Presidents of The USA. As the guitars twist and flash across the ear and the vocals coax the senses into further addiction, the song is like an old friend returning home. The sounds and energy of the track is instantly recognisable but equally and immediately fresh and rewarding, indie pop punk at its best.

Already on a high the EP gets even better with Song 11, an enthused stomp which ignites all the primal rhythms and melodic passions within. The Monkees meets Blink 182 with Maximo Park for company, the song is a pulsating and riotous thrill which has an insatiable hunger to exhaust the senses and bring the heart to a climax. As before the song has one accompanying its voice and limbs thrashing to the wonderful discord which spices the guitars and boisterous energy. The combination of Wlaysewski and O when they come together is stunning and in general the harmonies are delicious. The song also features a solo from Brendan Brown of the band Wheatus which only ignites further enjoyment.

Hand Stamp reins in the energies a touch but still is a feast of melodic joy, the bass pulsating besides the air heating slices of guitar and vocal harmonic elegance. The track does not quite have the pulse rate soaring as previous songs but its warmth and sweet taste is a rewarding dessert to what came before.

Social Season ends with the instrumental Saint James, a track which probably means a lot to the band but is a little lost on others. It is a great piece of music skilfully presented but does not fit with what went before so feels ultimately like a filler. It does have a departure of sound which opens some different anticipation to things in the future from the band though to be honest.

Late Cambrian is one of those bands we all need, fun, excitable, and able to put a smile on the face with  richly pleasing and open infectious sounds.

Ringmaster 22/08/2012

Copyright RingMaster: MyFreeCopyright

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