Bloody Knives – I Will Cut Your Heart Out For This

BK_RingMasterReview

The tone of its title, I Will Cut Your Heart Out For This, pretty much sets you up for the emotional trespass and sonic attitude of the new album from Texan trio Bloody Knives. It is a dark invasive suggestion echoed throughout the eight tracks’ scarred nihilistic hearts and a sound which crawls over and smothers the senses. Equally, it comes fuelled by melancholy thicker than Victorian London fog which at times is just as oppressive and invasively enveloping as the caustically natured sounds and as compelling as the raw beauty also invading ear and imagination.

Consisting of Preston Maddox (bass, voice, keyboards, samples, programming), Jake McCown (drums, noise, programming, art), and Jack O’Hara Harris (guitars, noise), Bloody Knives creates soundscapes which immerses the imagination in the darkest corners of life and emotion, into the harshest shadows within fiercest betrayals and deeds. Trying to accurately pin down their sound, lyrically and emotionally, is like trying to grab air, music and album simply a dense kaleidoscope of flavours and thought grasping dramas. The trio certainly find the coldest and rawest aspects of styles like dream pop, shoegaze, and psych pop to weave into intoxicating tempests also shaped by essences of post punk and industrially honed ethereal droning. It is a mesmeric and disturbing mix stealing attention instantly within the opener of the Maddox and Ian Rundell (Dead Space, Ghetto Ghouls, Xetas) recorded and Adam Stilson (New Canyons, Airiel, The March Violets) mixed and mastered I Will Cut Your Heart Out For This.

The album opens with Cystic, an instantly blistering nagging on the senses as guitars and keys sizzle venomously around the infectious stroll of the bass and Maddox’s morosely inviting and solemnly mellow vocals. Like a mix of My Bloody Valentine, The Jesus and Mary Chain, and Crispy Ambulance yet, as all tracks, something uniquely Bloody Knives, the song bites, grumbles, and entices with an inescapable virulence before it evolves into the following Blood Turns Cold. There is an even darker, almost desperation hued emotion and air to the second track, its character uncompromising and ravenous as icy melodies and melancholic vocals lace the transfixing drone of the encounter.

art_RingMasterReviewA bolder, antagonistic post punk undercurrent runs through the next up Reflection Lies, the bass leading those magnetic textures within another imagination sparking smog of sonic and melodic dissonance cast by guitar and synth, while Black Hole swings and rumbles with celestial and almost carnivorous washes of sound and emotion, each evolving and expanding in the ears with every passing minute. Both tracks majorly beguile and intimidate in varying ways and each ignites the senses, but the second of the two with its punk growl and techno flirtation within ravenous atmospheric explorations is especially irresistible.

Through the plaintive tone and sonic trespass of Static, where a great catchy Leitmotive like nagging emerges, and the dark, deranged almost funereal waltz of the instrumental —-, ears and thoughts continue to be potently challenged and eagerly involved whilst Poison Halo offers an even fiercer  wall of aural and emotional density. As ever the raw and suffocating hues of sound are expertly tempered by the coldly engaging delivery of Maddox and the often seemingly toxic melodies, the bass again sparking the contagiousness underpinning every song in one way or another.

Finishing with Buried Alive, a captivating assault of sonic and emotional discordance equipped with keenly edged scythes of guitars, psyche invading keys, and that ever successful rousing bass tenacity not forgetting the fiercely persuasive vocals, I Will Cut Your Heart Out For This is a thrilling confrontation and adventure. It takes the listener to new, invasive places in body and emotion yet rewards with spirit arousing challenges. With only the drums having their bite dulled by the swamp of sound around them as a minute niggle, I Will Cut Your Heart Out For This is simply one easy recommendation.

I Will Cut Your Heart Out For This is out now via Saint Marie Records @ https://saintmarierecords.bandcamp.com/album/i-will-cut-your-heart-out-for-this available digitally and on Vinyl limited to 500 (200 Black and 300 Ox blood / Electric Blue)

https://www.facebook.com/thebloodyknives

Pete Ringmaster 16/05/2016

Copyright RingMaster: MyFreeCopyright

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deardarkhead – Strange Weather

DDH_RingMasterReview

Rousingly fascinating is probably the best way to describe Strange Weather, the new EP from New Jersey trio deardarkhead, that and gloriously suggestive. Across six tracks as cinematic as they are emotionally intimate upon the imagination, band and release immerses the listener in its and their own sculpted exploits. The release is an anthem to the conjuring of bold imaginative adventures and a tapestry of creative virulence for ears to bask in.

The beginnings of deardarkhead go way back to 1988 since when the band has released five recordings on their own Fertile Crescent Records label with a retrospective of their early work additionally released in 2012 by Captured Tracks. Their distinctive fusion of post punk, indie rock, shoe gaze, and dream pop has been greedily devoured by an increasing many whilst their live presence has seen the band play with the likes of Supergrass, The Psychedelic Furs, Everclear and The Lilys amongst numerous other. Despite numerous compilation appearances, and that 2011 retrospective  Oceanside: 1991-1993 since last album Unlock the Valves of Feeling was released in 1998, you might say that deardarkhead have been a ‘forgotten’ treat by many; if so that is set to inescapably change with the release of Strange Weather.

Always luring inquiring interest with each release, the band has probably ignited the strongest intrigue with the new EP as it is their first without long time singer/bassist Michael Amper who left the band in 2009. His departure only seemed to ignite a hunger to explore their instrumental side as remaining members, guitarist Kevin Harrington and drummer Robert Weiss proceeded to move in that direction and perform instrumental shows after linking up with bassist Kevin McCauley the following year. The suggestion is that the band is looking for the right vocalist to bring in but on the evidence of Strange Weather, and its empowering potency, you wonder if it will be any loss not finding the right man.

art_RingMasterReviewFrom its first track Strange Weather has ears and emotions enthralled, the imagination just as swiftly ignited as Falling Upward emerges from chilling winds within a dank atmosphere. It is pulled from the wasteland by a nagging guitar, its sonic lure soon colluding with the resonating bait of the bass and crispy textured beats. With them comes a tenacious catchy resourcefulness which infectiously lines the post punk hook and bass groove which subsequently entwine and enslave ears. All the tracks to the EP spark ideas and mental imagery, ones sure to differ person to person, but a cold war like landscape is ours adventure for the opener no doubt helped by having recently watched Deutschland 83. There feels a cinematic kinship between the band’s sound and those visuals with every leap into the sonic tapestry of the song pushing the story along.

With a touch of Leitmotiv to it, the track is a riveting start, leaving ears and pleasure lively and ready to embrace the warmer jangle of Sunshine Through The Rain which follows. There is a calmer air altogether to the song, a melodic radiance which wears the scent of eighties indie pop yet contrasts it with a steely proposal from bass and hypnotic beats. Again captivation is a given to its My Bloody Valentine aired persuasion though it is soon outshone by the thrills and dramas of both Juxta Mare and March Hares. The first of the pair unveils a sultry atmosphere around a delicious melodic hook and bassline which would not feel out of play of a sixties/seventies TV spy thriller. Its lean but thick lure is the spring for an evocative weave of sonic enterprise and suggestive melodies, all courted by the dark shadows of bass and the persistently jabbing swings of Weiss.

As outstanding as it is, it too gets eclipsed by its successor, March Hares stealing the whole show. From the pulsating rhythms of Weiss to the snarling tone of McCauley’s bass, the track has ears and an already lustful appetite enslaved. Their irresistible bait is then entangled in bewitching tendrils of sonic imagination from Harrington; the song subsequently swinging along in the web of their united craft and invention to entice body and spirit further. In full stride, the track has a great feel of The Monochrome Set to it, indeed Harrington’s stringed adventure carries a touch of the English band’s guitarist Lester Square to it as a House of Love shimmer and Birdland like rowdiness add to the slavery.

Ice Age immerses the listener into chillier post punk climes next; its nippy atmosphere and almost bleak ambience tempered by the sonic elegance seeping from the guitar within the anthemic tenacity of the drums. Again it is fair to say that the song lures physical and emotional involvement with ease before Thinking Back explores a maze of reflective melodies and evocative grooves within another addictive rhythmic frame. There is an essence of Echo & The Bunnymen and Bauhaus to the track as post punk and gothic lit shadows and depths spread through sound and thoughts.

The track is an imposingly mesmeric end to a spellbinding release. Strange Weather will have you breathless, excited, reflective, and going on a myriad of imagination bred adventures with its suggestive incitement. We are no experts on deardarkhead and their releases to date but the EP has to be up there as possibly their greatest moment yet.

The Strange Weather EP is released March 25th via Saint Marie Records on Ltd Edition vinyl (100 Black / 150 White with Red Blue and Black splatter) and as a download @ http://saintmarierecords.limitedrun.com/products/567260-deardarkhead-strange-weather and http://saintmarierecords.bandcamp.com/album/strange-weather

http://www.deardarkhead.com/   https://www.facebook.com/darkheads   http://twitter.com/deardarkhead

Pete RingMaster 23/03/2016

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Static Daydream – Self Titled

SD cover_RingMaster Review

Ever had that dream where you are submerged in a thick and ravenous atmosphere haunted by the darkest predatory and invasive shadows, a little like the climate in the Silent Hill games? Listening to the new album from Static Daydream is like being immersed in that except everything about it from its raw breath and melodic discord is seriously invigorating and welcome. Carrying tracks bred in the bracing winds of noise and psych rock and equally cultured in shoegaze and dream pop beauty, the debut album from the US duo of Paul Baker (founding member of Skywave and Ceremony) and girlfriend/musical partner Jamie Casey is a tempest of sound and emotion to simply bask in.

Taking inspirations from 60’s girl groups alongside 80’s and 90’s British noise-pop, the pair began recording The Only One EP, their first release, in 2012. Earning strong critical acclaim upon release in 2014 on Moon Sounds Records, it was a swiftly devoured proposition instantly laying down the seeds of major anticipation for the band’s debut full-length. Released through Saint Marie Records and Moon Sounds Records, that encounter is here, eleven tracks igniting ears from the very start with reverb infested melancholic sound matched in potency by vocal and lyrical prowess within senses disorientating, discord fuelled roars. Within that ‘storm’ too ravishing melodic beauty and creative elegance shines. It is a fusion which has a sense of familiarity yet defies any real pinning down as to why, despite any references to others which may be suggested, for a unique and virulently contagious offering which just grows and strengthens in persuasion with very single listen.

The album opens with the immediately rousing More Than Today, a song which starts with a raw flame of guitar hinting at the raw punk hues of Birdland before blossoming a warm and caustic breeze of noisy but mellow pop with shades of House Of love. The dual vocals of Baker and Casey just entwine perfectly within the fuzzy climate of keys and the continuing sonically punk guitars. It is a stirring start matched by the slightly harsher air of Nowhere To Hide, a song fusing My Bloody Valentine like charm with the coarser haunting sonic ambience of Ceremony. The song gets darker and more energetically rabid with every passing minute, its already tenaciously fiery body just bristling with intensity and turbulence by its exciting close.

Run Into The Night grumbles with rhythms and riffs as it harmonically serenades next, its touch a fierce simmer on the senses and urgent spark for the imagination. Continuing to show a new aspect to the character of the album and Static Daydream’s sound, the song becomes a fire of noise and persuasion though it is quickly over shadowed by the outstanding Blue Tambourine Girl. Ears and emotions were enslaved almost instantly as a glorious Simon Gallup/Cure like bassline colludes with just as magnetic hooks and melodies to set things in motion, resonance wrapped vocals and firmly delivered beats only adding to the again seemingly recognisable but distinct theatre. That bass seducing continues to grip attention and ardour yet never takes away from the other just as masterful and spellbinding sounds aligning with it. The track is aural slavery and the pinnacle of the album, though there are many subsequent close-runs coming to snatch its title.

Just Stay is one such rival, its rhythmic and melody honed shuffle Jam like whilst as a mesmeric shimmer of reverb fascination and splintered but captivating dark rock grooves evolve alongside. The track is brimming with compelling hues which just hang around to light up an irresistible incitement on ears and rich pleasure, even when it brews up its own individual bluster of noise and dark romantic energy.

There is a similar canvas to the following Until You’re Mine, though its landscape is far busier and comes rapaciously inflamed as harmonies and melodies smoulder in the face of a wall of reverberation and scuzz spewing resonance. Throughout the album, Static Daydream weave in enticing essences of post punk, but this is the first song alone which virtually wears the flavour as it continually slips through a soundscape of fresh scenery and emotive atmospheres for another major highlight to the release.

The pair of Another Rainy Night Without You and When I Turn Around You’re Gone keeps ears and appetite aroused, the first with its dirty Jesus and Mary Chain pungency over glowing psych rock melodies and ethereally coloured vocals. Its successor flirts with more seemingly Cure inspired hooks and revelry, smothering them in dramatic sonic clouds veined by acidic grooves and deeply biting hooks, and a bassline which again has nostalgia and salacious seduction in its armoury.

One thrilling and inspiring trespass is followed by another and the eighties spiced The Only One. At times it is a fiercer provocative than its predecessor but in other moments a gentler heatwave of sound, the extremes fluidly united and continually matching inescapable sirens on ears It is a success only continuing with the gloriously aching noise haze of When She Falls and indeed last song I’ve Destroyed Everything. The album’s closer is sweltering smog of sound and emotive intensity with again post punk flavours woven into an alluring cacophony of discordance and sonic spicery breeding impassioned vocals and bristly melodies.

The final triumph helps suggest that Static Daydream’s album is arguably stronger in its second half than first but the difference in invention and certainly enjoyment is marginal at any time. The feeling coming out of the band’s label Saint Marie Records, is that they are rather excited about this release and fair to say they have plenty of reasons to be. If the thought of fuzzy, indeed seductively scuzzy sounds with vibrant imagination excites, then Static Daydream, band and album, is one offering you need to be checking out.

Static Daydream is available from August 28th on Vinyl, CD, and digitally via Saint Marie Records and Moon Sounds Records.

Pete RingMaster 28/08/2015

Copyright RingMaster: MyFreeCopyright

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Presents For Sally – Wishawaytoday

presents-for-sally-wishawaytoday-artwork-_RingMaster Review

Whatever the weather outside it is hard not to feel just a touch summery whilst embraced in Wishawaytoday, the new single from UK indie band Presents For Sally. The song is a lively hug of nineties indie pop and warm shoegaze ambience, united in an energetic and dynamic stroll which simultaneously provides a flirtatious romance for ears and imagination.

The two track release is the teaser for the trio’s forthcoming new album Colours & Changes, both via Saint Marie Records. Presents For Sally have been no strangers to acclaim and attention since forming in the late nineties, a host of singles and debut album A Touch of Joy, A Touch Of Sadness luring in fans and media alike. Sound wise Matt, Anna, and Phil have created a kaleidoscope like feel to their music, every twist of a song rearranging similar essences into new captivating designs and as you may rightly assume, Wishawaytoday and its companion Hits Like Kisses are no different.

Wishawaytoday swiftly saunters along with melodic and sonic flames tempered by a lovely dark and brooding bass tone. Once the vocals join the persuasion, things mellow a touch whilst still retaining and exploring a compelling fusion of light and dark. The heart and flow of the song is feisty though, the track, as it simmers boldly and smoulders tenaciously with melodic heat, a commandingly catchy incitement melding together whispers of bands like House of Love, My Bloody Valentine, and We Ghosts.

It alone wakes up an intrigued and keen anticipation of the upcoming full-length which the following Hits Like Kisses reinforces with its own individual theatre of sound. It opens with a lullaby like caress of melodies and harmonies which together create a celestial hug rich in radiance and emotive reflection. Around it though, a tempestuous air slowly brews; its own body intensifying with every passing second before erupting in a seemingly volatile but mercilessly enthralling wind of thick enticement, ridden by the still mesmeric and harmonious vocals and driven by crackling rhythms and fuzzy energy.

The first song is the eye candy and the second the drama of the single, and together the two mouth-watering encounters weave an inescapable tempting for Presents For Sally’s next rich endeavour.

Wishawaytoday is available now via Saint Marie Records digitally and as a 7” single @ http://www.saintmarierecords.com/products/551226-presents-for-sally-wishawaytoday and https://presentsforsally.bandcamp.com/

https://www.facebook.com/presentsforsally

RingMaster 17/07/2015

Copyright RingMaster: MyFreeCopyright

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BLiNDNESS – Wrapped In Plastic

BLiNDNESS2015_RingMaster Review

It may have been a long time coming but the debut album from BLiNDNESS makes time immaterial as it sizzles on the senses from start to finish spreading a dark wave electro pop seduction which is just as likely to snarl and explode with attitude as it is to smoulder and caress. Wrapped In Plastic is a sonically and imaginatively charged incitement, an adrenaline driven helter-skelter of sound and energy that ears and thoughts quickly bask in. The accompanying press release to the album calls it a “rollercoaster ride of beautiful chaos” and that about says it all.

Formed in 2008, BLiNDNESS consists of Beth Rettig (vocals, programming, noise), Emma Quick (bass, noise), and Debbie Smith (guitar, feedback, noise) previously of Curve, Echobelly, and Snowpony. Since emerging the London based band has persistently been an explosive proposition on the Capital’s live scene and beyond. Now it is the turn of Wrapped In Plastic to set the fuse to fresh and major attention, and from its opening proposal it easily leaves ears and appetite seriously engaged.

Serves Me Right is the first protagonist and from an opening sonic lure which has the senses flinching whilst anticipation licks its lips, begins a perpetual transfixing swiftly enhanced by a grizzly bassline. With pulsating electro beats and a scuzzy air to the guitars lining up soon after, the song resonates and enthrals as it broadens its landscape, the warm but steely vocal tones of Rettig riding its thick melodic mesh of sound and intensity to further stretch the captivating start.

Blindness-Wrapped-_RingMaster Review   The guitar sculpted Deserving keeps the strong potency going with immediate effect next, fiery flames from the strings of Smith igniting the air as the dark tones of bass and gripping tones of Rettig bring contrast and balance. Pungent beats spark a meaty stride to the slice of fuzzy rock ‘n’ roll, the song emerging like a mix of Garbage and Breeders dug for extra spicing into the originality of BLiNDNESS. Contagious and bracing, the track pushes the album up another gear to a stirring level matched as magnetically and forcibly by Last One Dies. Tenaciously simmering with electronic imagination and brewing a sturdy and bewitching tapestry of melodic and psych rock, the third song simply rumbles and flirts with increasing energy across its vibrant body.

A gentler croon emerges with No One Counts, though as all tracks there is a volatile edge to sound and invention which means unpredictability is as ripe as melodic and fuzz soaked enterprise. The bass of Quick once more adds a delicious shadow rich twang to proceedings whilst melodically and in creative crescendos there is an air of Muse to the fiery encounter, though just one whisper in a few to something ultimately individual to the band.

Both Sunday Morning and Humming Song wrap ears to pleasing effect, the first vocally and melodically with a mellow tone and reflective shimmer. Its rhythmic shuffle adds a kinetic energy and catchiness to its mesmeric busyness whilst its successor initially slips into an even slower and elegant serenade, swimming over the senses and around evocative rhythms, before brewing a dramatic blaze of sonic and emotive intensity then repeating the cycle once again. The theatre and vocal drama of the song is bewitching, and though neither inflames the passions as powerfully as those before them, each leaves a want for more.

It is a hunger quickly fed by the dark textures and atmosphere of Broken. There is an open shoegaze glow to certainly vocal delivery and melodies throughout the album but probably at its most vivacious here, though that is beautifully tempered by the underlying growl of bass and character of the track, and indeed its almost acrid swamp of sonic imagination and ferocity. Hypnotic until its final parting breath, the track is a meditative, almost carnal incitement.

All In One raises the temperature of the album next, its physical presence as mercurial as its invention. BLiNDNESS entangles seventies psychedelic rock and nineties alternative/ electro rock into its resourceful scorching fire, feedback and celestial acidity as always an ever potent presence. The track ignites ears with ease before Confessions ensures a blistering close to the album with its bluesy inferno of intoxicating rock ‘n’ roll. It is an intense and thrilling end to Wrapped In Plastic, a release finishing on a high and sparking the want to go again.

To be particularly picky there is a similarity in certain areas of some songs which threatens to smother the invention and creative adventure specific to each track but close and constant attention covers that, Wrapped In Plastic a release you need to spend time with to reap all its strengths and qualities. BLiNDNESS definitely rewards such focus though with an encounter which leaves ears ringing, bodies sweaty, and satisfaction bloated.

Wrapped In Plastic is available now via Saint Marie Records @ http://saintmarierecords.limitedrun.com/products/553220-blindness-wrapped-in-plastic

http://www.weareblindness.co.uk   https://www.facebook.com/weareblindness

RingMaster 08/07/2015

Copyright RingMaster: MyFreeCopyright

 

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Lightfoils – Hierarchy

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Bringing a fire and fiercely textured depth rarely heard before in shoegaze, Chicago quintet Lightfoils release debut album Hierarchy to mesmerise, subdue, and inflame the senses. Like a voracious mix of The Capsules and The Mouth of Ghosts but openly individual, the band’s sound and release is a breath-taking wind of poetic invasiveness, an adventure of sultry landscapes within a hazy swamp of emotive and smoulderingly intensive melodic skies. There are times that the release truly imposes on ears and psyche but from start to finish the album is a compelling and fascination blaze of cavernous warm sounds and shimmering transfixing ingenuity.

Consisting of vocalist Jane Zabeth, guitarists Neil Yodnane and Zeeshan Abbasi, bassist Cory Osborne, and drummer John Rungger, Lightfoils emerged in 2010. Since their first steps the band has shared stages with the likes of Ringo Deathstarr, Telescopes, Nightmare Air, and Ume as well as playing at SXSW in 2012, all the time increasing their presence and growing fan base. Their self-titled EP of two years ago set attention and anticipation in motion which the Sanford Parker album is set to take to new levels and intensity such its impressive proposition.

An atmospheric caress wraps ears first as opener Polar Waves emerges to set the album off, its soft yet haunting touch soon joined by jabbing beats and a broody bass tone alongside a web of jangling guitar and angelically a3054064102_2harmonious vocals. It is a rich and enveloping mix which croons as it immerses the imagination into its presence, soaking ears and emotions in a melodically humid flight of endearing enterprise. It is also a merger of light and shadows, the rhythms and bass bringing darker depths to the slightly chilling yet captivating voice of the song cast by heated guitars and vocals. It is a striking and mesmeric start to the encounter but soon finding itself in the shade of its successor.

Last One is a killer of a song, from its first rhythmic anthemic tantalising swiftly joined by the rugged charm of raw guitar and the seemingly persistently cantankerous bass tones, it dances with the passions. Keys as in the first soar across ears and the ceiling of the song but spread a more expansive and potent emotive soundscape here beneath which there is a primal energy and irresistible bait enslaving thoughts. Adding a slight post punk steel to the canvas of temptation, predominantly through the bass of Osbourne, and a distinct flame of abrasing sonic colouring to the flaming climate, the track is a mouth-watering and thrilling wash of invention led by the siren-esque call and harmonies of Zabeth.

Those same mesmeric temptations permeate the dynamic emprise of Addict, a track which stirs the blood from the outset with its scorching sonic welcome and subsequent anthemic stride aligned to a bewitching weave of aggravated sinews and sweltering enchantments. The track boils with contagious intensity and squalling hues throughout, igniting ears through to emotions with its rigorously expressive, almost antagonistic heart and abrasing crystalline beauty.

Diastolic similarly grips attention and a by now raging appetite for the album, its first coaxing of that constantly delicious and grizzling bass tempting binding a concentrated focus. It is a lure aided just as rivetingly by guitar and crisps rhythms. The spine of rhythmic invention and contagion across the whole of the album is simply irresistible, the dark spicing a perfect temper and complement for the flowing summery vocals and steamy melodies swirling overhead. The track is like a passionately orchestrated sunset, its rich hues and intriguing sonic scenery a shifting enthralling composition which embraces and seduces the whole body.

The following Mock Sun is a more laboured persuasion, a song which superbly blends the darker ravages of sound with smothering blazes of aural sun and seductive melodies but loses the key to the passions which previous tracks held so forcibly. Its central snarl though ensures the track leaves satisfaction full and the voice of Zabeth in control of emotions before making way for the excellent Passage. The track glides effortlessly across the senses, a glaze of House Of love and My Bloody Valentine stroking ears before a fiery swell of endeavour and energy brews in its belly. The song is a lingering seduction, its melodic lips searching and glancing over every inch of the senses and imagination like a celestial lover spawned from a darker corner of temptation. One of the pinnacles of the release, the track gloriously sends emotions into rapture before an untitled instrumental comes in to treat the imagination. The piece is a spatial soar with heavenly whispers and pulsating tones but seems out of place certainly where it is on the album. As an intro or outro it would have been an embracing to dive within but where it is truthfully you are just looking to the next track.

Next up alovetodestroy seeps from its predecessor with an echoing swarm of sound which in turn triggers a feisty expulsion of grippingly aggravated rhythms and icy bass taunting around which Zabeth and guitars sculpt another sizzling romance fuelled further by the evocatively potent keys. The song is as busy and lively as it is rigorously beguiling, heating up the senses for Hideaway to cast its wily melodies and alluring charm over. A gentler floating of spiritual aural seducing compared to the previous track, the song engulfs the listener in a bordering on tempestuous atmosphere which you only want to bask in.

Completed by another nameless piece of skilful composing and vivid realisation and as the previous piece against the other tracks less compelling even with its cinematic quality, Hierarchy is a cosmic and reflective fantasy brought to rich aural life. Lightfoils has crafted an immersive escape within which you can find hope, shadows, and unbridled pleasure.

Hierarchy is available now via Saint Marie Records @ http://saintmarierecords.bandcamp.com/album/hierarchy

https://www.facebook.com/Lightfoils

8.5/10

RingMaster 09/07/2014

Copyright RingMaster: MyFreeCopyright

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The Capsules – The Long Goodbye

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Having been seduced by US electro pop band The Capsules through their previous album Northern Lights & Southern Skies, anticipation for its successor The Long Goodbye has been excitable and at times impatient especially when having the honour of a sneak preview a short while ago, and the album does not let any expectations and hopes down now that it is finally ready to immerse the world into its mesmeric embrace. Its predecessor was an enthralling proposition which did not ignite a fire in the passions though it had them bubbling nicely with its enchanting charm and qualities; The Long Goodbye though does both. At times it has emotions and satisfaction simmering vivaciously but more often than not it leads them to raging flames of pleasure and rapture whilst revealing a thrilling evolution in the band’s sound, craft, and songwriting maturity.

Originally from Kansas but now Dallas based, The Capsules’ seeds began in high school with Julie and Jason Shields. Coming together to write music, it subsequently led to romance, marriage, and first band Shallow as well as the first bloom of their breath-takingly textured sounds. Next the pair enlisted drummer Kevin Trevino as they looked to expand and further refine their sound, a potent move resulting in the emergence of The Capsules. As the trio grew in sound and presence so did attention towards them, debut album Reverser sparking a focus upon them followed by two more increasingly captivating full-lengths before Northern Lights & Southern Skies brought in all into a much greater spotlight. Along the way the band has also grabbed an increasingly growing legion of fans including SpongeBob SquarePants creator Steven Hillenburg who asked them to write a song for the show. Understandable comparisons to the likes of Cocteau Twins, Blonde Redhead, Metric, Phantasmogram, and My Bloody Valentine have graced the band over releases and their performances with bands such as The Flaming Lips, Garbage, Mercury Rev, and Low, but it is honest to say that The Long Goodbye places the band into their own unique centre of attraction with its invigorating electronic caresses and seductive vocal temptations. Released via Saint Marie Records, the album quite simply is one ridiculously potent siren.

The entrancing flight of the album starts with The Beginning and its initial jangling enticement, guitars offering more tangible bait in 10364099_10152403884081346_7913373131760722158_nan increasingly immersive ambience bred by the keys. Instantly there is a whisper of drama to the song, a colourful essence which erupts into an eager breath to a lively and in comparison to its start, urgent stroll to the song. The crisp beats of Kevin bring a coaxing spine to the song as the increasingly mesmeric tones of Julie wrap and envelope the senses but it is the teasing melody crafted by Jason which lays down the strongest trap, its Altered Images intrigue, simulated by haunted yet warm harmonies, simply delicious. It is a rousing anthemic start to the album, a scenic evocative contagion which takes the imagination and passions into bright aural views.

Super Symmetry takes over and just as quickly has ears and thoughts transfixed with its expressive electro courting, its breath a mix of melancholy and elation. Julie’s voice smoulders as she glides over the minimalistic yet fully hued landscape of the song, noir kissed shadows and lapping incitements of melodies filling the unfussy and infectious premise. There is a hazy light which soaks the song, one which flirts as it soaks every note and syllable to help create a presence which simply absorbs mind and soul before making way for the thicker narrative of Monsters. Like the opener it has an eighties synth pop like spice to its cloudy wash of acidic guitar enterprise and smothering melodies, but truly comes alive when the band opens up its chorus with a rhythmic crescendo matched by elevated sonic flames.

Both the title track and Death Of A Comet steer the senses into a spatial climate, the first soaring with rapturous vocal flumes and magnetic rhythmic enticement within expansive and emotionally invasive weaves of keys laced together by the intricate guitar sewing of Jason. The second provides an initial emotional dawning which slowly spreads its colour and aural heart until finding itself casting a gentle stroll beneath a moonlit smile. Both tracks light up ears and air, bulging melodies aligned to soaring beauty and a spellbinding croon respectively showing just two more twists in the diversity seeding the songwriting and album, an aspect pushed again by the outstanding Hollywood. With a thick and glorious dark bass prowl stealing attention as the song radiates its entrancing suasion whilst again celestial flavouring breeds sonic fascination, the track is an impossibly beguiling and infectious flight into shadowed climes and compelling sunspots, much like its namesake.

The brooding grandeur of You Are A Metaphor keenly kisses ears next, again layers of dark and light converging into an enriching provocative ambience sculpted in reflection and thought, before being put in the shade just a little by Signals, a song where from its first scattering of Numan-esque trappings steals undiluted attention especially when it brings a heavier and no less welcome OMD expression to its electro stirring. Gripping and mouthwatering the song is itself just a very tasty appetiser for the highlight of the album, The Lonely End. The song is just majestic pop alchemy which stands as one of the best song unveiled this year. From its first strands of electro infection aligned to loudly vocal melodic emotion, the track swarms around seducing senses and imagination like a dark temptress, one needing no assistance but getting it with a just as potent sultriness from the fabulous tones of Julie. Robust but as finely crafted as porcelain, the spellbinding encounter with its earthy bass sound and scorched sonic guitar bred flames aligned to breath-taking melodies is simply stunning.

The height of its glory leaves songs like With Every Hour and Don’t Look Down which follow a thankless task but both without truthfully coming near still enrol the listener in a masterclass of picturesque melodies and imagination painting keys embraced in possessive harmonies and vocals. Neither song admittedly takes the bull by the horns either, both in distinct ways exploring their own independent emotional investigations without the same contagious toxins found elsewhere, though that virulence is soon rediscovered by the almost imposingly dramatic The Forgotten Days. There is a nagging essence and potency to the song which like a dog with a pig’s ear never relinquishes the instant hook it places in the passions early on. With guitars and drums steering the encounter as powerfully as the vocals, the track is a formidable provocateur, one which never truly explodes as expected but still provides a gem of an incitement.

The Long Goodbye closes with the excellent version of I Will Survive, a slowly awakening temptation which once more prefers to croon than romp but still finds a level of energy and enticement which leaves breath gasping. The song is one which has never found favour here but in the hand of The Capsules has become a firm favourite. The Long Goodbye is easily one of the special treats of the year so far suggesting that from being compared to many others The Capsules from this point on will be who others are compared to.

The Long Goodbye is available via Saint Marie Records now!

http://www.thecapsules.com/

9.5/10

RingMaster 20/05/2014

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