The Creepshow – Life After Death

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With a shakeup in the band line-up having marked the past year or so, Canadian rockers The Creepshow unleash their new album to easily answer any questions, or doubts which may have risen over the period concerning the change. Life After Death is a thumping treat of a riot, a bruising and seductive blaze of multi-flavoured rock ‘n’ roll which feeds all the constant hunger for the band’s distinctive sound within fans whilst expand their sound to its fullest adventure yet. The eleven track stomp sees the Toronto quintet sculpting songs from a fiery mix of rockabilly, psychobilly, punk, and hard rock, a rangy blend which stretches the imagination and energy of the band arguably to its greatest potency to date. It is a storming encounter which ignites the senses and passions as only The Creepshow can.

Formed in 2005, the band has built a formidable place within psychobilly bred adventure through their impressive albums and dramatically riveting and raucous live shows which has seen the band alongside the likes of Rancid, Tiger Army, TheUnseen, Agnostic Front, Mad Sin, Demented Are Go to name just a few and ignite numerous festivals such as like Ink’n’Iron, Festival Of Fear, Mighty Sounds, and Rebellion over the years. Their releases from debut album Sell Your Soul of 2006, the exceptional Run for Your Life two years later, and the equally incendiary They All Fall Down in 2010, have helped thrust the band to the frontline of rock ‘n’ roll bred voraciousness but certainly the departure of vocalist Sarah “Sin” Blackwood to focus on her involvement with Walk Off The Earth last year raised some questions about the band’s future sound. The truth, as shown by the new release, is that the change has only drawn a fresh breath into and energy from the band, a new appetite which has honed Life After Death into an exceptionally vibrant and compelling confrontation.

Stepping into the gap left by Blackwood is Kendalyn “Kenda” Legaspi, her vocal fire and guitar craft a stylish hungry presence which takes the snarl of the band into a fresh rapaciousness and devilry to match the movement of the band’s sound. Life After Death also sees new drummer Sandro Sanchioni and guitarist Daniel Flamm (Ski’ s Country Trash) alongside Legaspi, bassist Sean “Sickboy” McNab, and Kristian “The Reverend McGinty” Rowles on keys, a fresh union which finds The Creepshow arguably at their most powerful and gripping.

Opener See You In Hell storms through the ear with a greedy charge of badgering rhythms and adrenaline coaxed riffs, the track a Press_Cover_03psychobilly contagion which without creating new realms for the style provides a predatory thrill which ticks all the right boxes for the passions. The vocals of Legaspi on this song have initially a voice close to that of Blackwood but as the album expands she shows her distinct and unique presence potently alongside the musical adventures. With the upright bass craft of McNab as delicious and inciting as expected with the band’s invention, the track is a stonking start to the album which is soon backed by The Devil’s Son. The song from its opening second has a sultry lure and heated breath to its rockabilly prowl, keys a smouldering glaze over the rhythmic caging of the imagination and the seductive Wanda Jackson hinting vocals. Insistently infectious the song merges a fifties swagger with a sixties keys narrative which with the excellent vocal harmonies just captivates and mesmerises the imagination.

The first single from the release Sinners & Saints bounds into view next, the song a feisty energetic dance of juggling rhythms and bass provocation beneath a melodic flame of easily accessible and inventive temptation. For personal tastes it is not the strongest or preferred song to tempt people into the album but it is still a pleasing and enticing encounter which sets up an even greater appetite for the following gems of Born To Lose and Settle The Score. The first is a song which maybe should not work but does magnificently. Like a merger of Jerry Lee Lewis and Meatloaf, the fusion of classic rock ‘n’ roll and seventies hard rock with glam tendencies leaves the senses breathless and intrigued. A track which walks the fine line between being crazy and sparking total adoration, it is ultimately a riveting slice of invention which challenges and explores the imagination for the strongest satisfaction. Its successor like the first song of the album, is less adventurous rather sticking to a straightforward rockabilly stance but at the same time has no lack of punch and virulent bait to continue the impressive body of the album.

Failing Grade makes a grab for the passions next, its brawling intensity and confronting energy caged within a rhythmic irresistibility sheer magnetism. There is a punk rabidity to the song which urges it on whilst vocally, Legaspi backed again by great band confirmation steals prime attention. Like a mix of Spinnerette and Tiger Army it is a major joy with the keys of Rowles casting an absorbing evocative weave over the heart of the song with his imagination. One of many highlights upon the release it is not standing alone for long as immediately both Second Chance and Last Call state their claims for top spot on the release, the first an elegant stomp soaked in sixties inspired keys and veined with rockabilly punctuation whilst its successor is a glorious fire of punk and blues rock ‘n’ roll. Like a blend of Flogging Molly and Bill Haley with King Kurt the Ringleader, it is a terrific unpredictable gem with McNab leading the vocals across a scintillating brass flame of inventive temptation.

Just as right across its length the album closes by unloading another mass brawl of mighty allurements, Take It Away first igniting the ears with its anthemic rockabilly antagonism before making way for the outstanding punk ‘n’ roll predation of Can’t Wait To See You Fall. The song with another psychobilly and punk explosiveness within a sweltering melodic sky leaves the hunger rabid for more, with the sensational vocals of Legaspi a sirenesque temptress which she repeats upon the closing title track. An exceptional conclusion to an equally immense album, the song ensures that Life After Death is a lingering battling enticement of pleasure.

The Creepshow just go from strength to strength and have not let a little matter of changing front ladies diffuse their invention, imagination, and might. Punk ‘n’ roll album of the year…it just might be.

http://www.thecreepshow.org

9/10

RingMaster 22/10/2013

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Deathcrush – Skool’s In

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As instantly impacting as a right hook to the jaw, Skool’s In from Norwegian band Deathcrush easily shows what the buzz covering the band right now is all about and proves it is more than justified. A seamless collage of sounds and invention brought with a primal growl and uncompromising hunger, the 12” debut from the Oslo trio is a scintillating and passion gripping tour-de-force, and one you only feel is scratching the surface of the band’s depths and future.

Released on the back of their limited flexi disc release within a double poster magazine, Skool’s In is a four track vinyl temptress which is devilishly seductive and mercilessly addictive, and again that is only the tip of the sonically and rhythmically carnivorous bewitchment. Since forming the threesome of vocalist/guitarist Linn Nystadnes, bassist/vocalist Åse Røyset, and vocalist/drummer Vidar Evensen has garnered potent acclaim and fanbase through their live performances across Norway, Europe and beyond with their thick and magnetic noise rock originality. Recording a bundle of songs with Billy Anderson (Swans, Melvins, Mr. Bungle) and Jørgen Træen (Datarock, Annie, Sondre Lerche), the band is with Skool’s In starting off a much anticipated series of singles, the first a mighty scintillating beginning it is.

Opening track Lesson #3 for Gina Kikoine / You Now takes no time to unleash a bass snarl which preys on the ear whilst the drums stalk a1169124254_2with their own teasing design. Across it the vocals of Nystadnes and Åse Røyset either alone or together enchant with charm and menace whilst the guitar splits and sculpts the air with flesh singing sonic narrative. It is a powerful insidiously sirenesque persuasion which brews an intensity and smothering embrace which defies escape and breeds addiction whilst the electronic teases and taunts only excite the senses further into greater lustful submission. Like a mix of Melt Banana, Spinnerette, and 4 Non Blondes, but not, the track is a blistering almost disorientating sabre swipe of noise rock with acidic pop infectiousness and an exceptional start to the EP.

The immediate pinnacle is soon followed and matched by Lesson #4 for Wharton Tiers / Strauss, a track which explores even darker intensive shadows and the sonic creative destructive depths of the band and their craft. The first soundscape of the song is an apocalyptic like burning corrosive flight which takes a breather for the vocal almost childlike kisses to sooth and strap the passions in before making another fall through a synapse scraping imagination poking tempest. Nor as easily accessible as its predecessor but completely equal in impacting strength, aggressive persuasion, and unbridled excellence, the song leaves no doubt to the extensive intent and expanse of the band’s sound and ideas. It helps pile on the rabid anticipation for future singles and releases, something which is just as easily fed by the next up track.

     Lesson #13 for Nanker Phelge / Fire was the song which featured on the flexi-disc and within such immense company stands as potent and unique as before whilst increasing further the band’s reputation and stature. A track which from the start stalks and prowls the senses providing ammunition for heart and mind whilst feeding the senses and emotions with a slow romp of ridiculously contagious sound and imagination, the track just traps and enslaves with its ear bracing synapse eroding guitar and bass crawl within a rhythmic herding of the passions. There is a post punk charm and punk voracity to the song which reminds a little of the Au Pairs and The Raincoats whilst the noise slicing of the atmosphere is Pixies/ Valentiine like, yet again these are slight references  to something unique to Deathcrush.

The outstanding release is completed by the Fire remix of the third song by James Njie. It is a pop /dancefloor igniting electro stomp with a breath of J-Pop to its mesmeric and irresistible dance. Still managing to retain an element of the carnivorous side of Deathcrush the track is a crystalline treat which makes us almost reassess our thoughts on the point of remixes.

Released via Norway Rat Records, Skool’s In is just magnificent, a raptor of brilliance within a noise and mental examination, and the undeniable debut of a band which is going to coax and command our attentions and passions for horizons to come.

http://www.deathcrush.no

10/10

RingMaster 07/10/2013

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Valentiine: Self Titled

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With the single Love Like having already teased and lit up our senses a few weeks back it is fair to say that anticipation for the debut album of Australian band Valentiine had a real hunger to it, especially after the unveiling of the brilliant new single Chucky in the past few days. The self-titled release has now stepped forward to not only live up to the suggestiveness of the pair of aural temptresses posing as singles but elevated the trio to one of the most thrilling and still richly promising bands to emerge this year. It is a predator of an album that toys with and manipulates the passions for a riotous and magnetic flame of bruising seduction.

Hailing from Melbourne, the threesome of Vanessa V (guitar/vocals), Erica E (bass/vocals), and Shelly K (drums/vocals) have a sound which is to simplify things a blend of garage rock and punk. Direct and emotively intrusive it also has a grunge seeded melodic fire which sears senses and thoughts whilst rhythmic badgering deviously diverts the attention. It is a sound which has a strong familiarity but equally lays a distinct hand on the passions directly bred from the band. Since forming Valentiine has not only left their homeland enamoured but persuaded fans across Europe and the UK with their powerful and contagious sounds. A successful 22 date European tour last year was followed by the band signing with UK independent, Integrity Records (Million Dead, Reuben, Katastrophy Wife), the two singles and now album a following potent step towards world domination one suspects.

Imagine a mix of The Breeders, Spinnerette, and Veruca Salt with a healthy snarl of L7 as well as a strong pop imagination, and you artworks-000050495136-39ybnn-t500x500get a strong impression of what Valentiine ignite the passions with. As mentioned it is a sound which has a welcoming familiarity but infuses it into their singular potent invention musically and lyrically. The songs hold narratives of everyday life and situations, honestly and often starkly presented with a dark mischievousness, and all veined with addiction causing hooks and infection sparking enterprise which is impossible to resist.

     Love Like opens up the encounter, the track an even paced roam through the ear with intimidation and steel to its riveting presence. Rhythmic sinews cage the senses as the guitar unleashes sonic fire, the combination gripping attention as the excellent and varied vocals of Vanessa V coax further with a mix of riled attitude and melodic seduction. It is an outstanding introduction to the album, a caustic caress seeded in fire borne intensity and a song that secures instant attraction, though it is soon surpassed by new single Chucky. Recounting the ladies own ‘morning after’ hangover blues in graphic detail, the track first teases with guitar and vocals before stomping into a fascination of bubble gum pop and shadow clad punk ‘n’ roll. It is ridiculously addictive; its easy yet perfectly honed enticement a blend of Green Day and The Shangri-Las which leads the listener into an insatiable dance of rhythmic temptation and pop punk wantonness.

Now into the stride of the release it begins to stretch out its darker tones and imaginative ingenuity, both Birthday and Finch opening new diversity to songwriting and sound. The first is a slow burner with the grunge growl of a Nirvana or Hole, its lingering and building intensity a dramatic smack across the senses, whilst the second tenderises with a sonic niggle and drum battering within restrained emotive incitement and sirenesque cheerleader like sultry harmonies. Both are again rich and drama clad musical treats though they do have to surrender to the even greater triumphs of firstly the smouldering When You Want, a track with a more than loud Pixies whisper to its inventive crawl, and secondly the venomous Hates Me. This track is pure L7 meets Puddle Of Mudd filtered through a malevolently spiced vat of spiteful punk, its bite dangerous but alluring with epidemic charm.

As the musicianship and imagination of the band conjures more insatiable devilment and virulent enticements it is impossible not to fall for the call of the album, though when it continues to offer such glories as the scintillating Never Forget You and its twisting metallic tentacles of guitar and bass entrapment, and the rapacious and brilliant Animal, submission was always a done deal.

As the variation and thrills keep coming with further major highlights coming from the Pixiesque Better For Me and the gnarly Kick It, the album stakes its claim as on of the most impressive releases this year. Every song leaves a lingering branding on the passions and thoughts whilst satisfaction and entertainment are delivered aural manner by the twelve, it has to be said, brilliant triumphs. Valentiine will be a major band, no doubts, and their debut album destined for the classic shelf.

http://www.valentiine.com/

10/10

RingMaster 22/06/2013

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Forgery Lit – Onamacritus

Forgery Lit pic

Listening to Onamacritus, the new EP from UK band Forgery Lit, the overriding feeling is that tingle you get when you feel like you are in on the beginning of something rather special, an awareness which not many others have had the taste of yet, though it would be a real shock if the trio from Bristol were not echoing around the senses of a great many in the very near future. Their four track release is simply scintillating, an inspired and imaginative temptation bred from distinct invention and unique aural mischief. Sounding like the tantalising offspring from an orgy between Blood Red Shoes, Breeders, and Penetration with the Au Pairs and Spinnerette offering their juices, and yet sounding something completely different, Forgery Lit is a fire waiting to happen, and their new release we suggest the irresistible spark.

Consisting of Ami Amp (vocals/drums), Gareth Jones (bass/backing vocals), and Niko Mar (guitar, backing vocals), the three friends from three different parts of the world (Greece, South east and South west of England), take inspirations from the likes of Juliette and the Licks, Mogwai, No Doubt, Nirvana and more, spicing up a sound which defies tagging and stands loudly distinctive to the band. As shown by the EP, it is a fusion of indie and rock which employs breaths from many other ventures for one new thrilling experience.

As soon as Dirty Life throws a mesh of sonic dust at the ear senses are opened up and appetite wide eyed in anticipation. It is a 27934_607200582626200_832823740_nbrief scrub soon replaced by a teasing groove and strolling rhythms hand in hand with a swagger lit bassline. The vocals of Amp confidently coax and seduce with slight menace and total persuasion adding to the provocative temptation which subsequently reacts to the listener’s submission with a sonic crescendo of squalling greedy energy before going through the whole incendiary lure again to cement the deal. The drift into blues soaked tempting within a bedlamic ambience makes for an unexpected and exciting aside whilst the returning earnest tempest confirms the already incited ardour. The lead track/video from the release it makes a potent introduction to the band.

She Said has a reggae whispering walk to its opening embrace with the vocals and rhythmic enticement of Amp waving a beckoning finger at the ear before bass and guitar light up the scenic embrace with feisty passion and evocative colour. A more gentle engagement than the previous song it still grabs thoughts and emotions by the scruff of the neck and leads them into an excitable dance of discord teasing melodic blistering crafted with a post punk enterprise. It has an uncompromising invention which is hypnotic in its invigorating ingenuity but is never afraid to drench it in a surge of heart sculpted energy bleeding ferocity.

With just two songs the EP has won its case but with the remaining pair of Bicycle and Fairweather, there is nothing less than more eclectic weaves and rapture igniting quality to devour and drive those thoughts and expectations that Forgery Lit is poised to become a new force in UK rock. The first of the two stands eye to eye with the senses, a riff guided groove searing the synapses to enslave their focus before beats cage their escape and Amp lays out her narrative with a seductive wantonness.  It is with the expulsion of sky bound sonic flames with acidic melodic fuel and a deliciously broody bass assistance that the track finds another plateau of excellence. X-Ray Spex meets Karn8, it is a sizzling and beguiling confrontation and the best track on the EP, a creative devilment which says as much about the immense invention as the other three songs together.

The closing Fairweather is a slowly smouldering caress which is as gentle as it is caustic in its predatory surges, a final piece of passionate and expansive excellence setting the band up as one of the most exciting and promising bands of recent years. Recorded at AudioBeach Studios with Forbes Coleman, Onamacritus is one release all need to invite into their ears, your hearts it will find by itself soon after.

https://www.facebook.com/forgerylit

9/10

RingMaster 28/05/2013

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Chantal Claret – The One, The Only…

by Anna-Franziska Milanollo

by Anna-Franziska Milanollo

With big boned rhythmic seduction and even more tempting melodic suggestiveness, the debut album from Chantal Claret is one delicious romp of sixties pop and modern insatiable inventive hunger, a release which makes the term having a good time as a description seem rudely limiting. The former vocalist for the excellent Morningwood, Claret has crafted her own soulful and enchanting not forgetting vivacious sound, into a larger than life treat which brings femme-pop from five decades ago in a feisty and thrilling union with attitude drenched indie pop. Think Imelda May meets Brenda Lee with strong whispers of Wanda Jackson, Gwen Stefani, and at times essences of Brody Dalle’s Spinnerette, and you get the unique presence of Chantal Claret. The One, The Only… is an album which has feet and emotions pumping in time and passion with the forthright sounds it offers, a release which quite simply and persistently thrills with each and every enthralling note.

    The One, The Only… is something very different from anything Morningwood unveiled though there is still a visible thread The One, The Only. . . Chantal Claret by Nick Walker Photography 2between the two due to the stand alone vocals of Claret who arguably upon her first full length solo release has found an even richer and expansive depth to her tone and delivery. Following up the acclaimed Pleasure Seekers EP whose four tracks also grace this album, the new release dances with the passions and ear to send a rapture marauding through the body like a tide of raucous melodic energy which ebbs and flows yet never leaves anything less than captivated seduction roaming its presence.

The opening intro introduces the artist like you would have found at an authentic live performance or TV show of the sixties, or so my Dad told me… an audience excited and drooling as the artist takes her spot in their eager spotlight. It leads right into the muscular rhythms and initial crafty tease of Bite Your Tongue, a song which sways with devilment whilst coaxing the passions into its instantly infectious embrace. The rhythms continue to dominate from the drums and bass, even in its quietest lure, whilst the keys add smokey whispers to stand side by side with the blaze of horns. It is a terrific start with a female snarl and wile to its magnetic temptation.

The thrilling start continues with Pleasure Seekers, a track which has the fire of the band of the same name in the sixties and the gentle pop artfulness of Nancy Sinatra, through the contagious Pop Pop Bang Bang and on to This Time. The second of the trio is one of the highest pinnacles, its arrival on a nursery rhyme like coaxing opening moving into a riveting stroll of woman scorned devilry with accompanying violent intent. Not the most involved song in its construction but certainly the most dramatically mesmeric and energetic, the track enlists the listener into its revengeful mischief with enigmatic craft and arcane breath. The third of the trio leads the senses into a wealth of bulging rhythms and enchanted melodies coated in a sinister design which sparks an ardour as potent as the sacrificial seduction of a siren, both inescapable and unrelenting.

Arguably there is a constant surface shine and glow to the songs which shades the variety at work initially but with songs like the Crystals/Yeah Yeah Yeahs prompting No Love Lost and the Aretha Franklin/Gwen Stefani call to arms of Real Girls and their curves and swerves, any similarity in the coating is soon dispelled with their individual voices, the latter of these two a hip hop/pop fusion which makes it impossible not to hungrily enlist in its cause.

Further flames of pleasure come with the fifties gaited Black Widow, a song which is as tricky as it is insatiable, its aural tongue licking its lips as it seizes the heart with the appetite of its subject. The Mari Wilson sounding Honey Honey stands alongside the song as another real high point its sixties energetic kiss from keys and passionate vocals leaving thoughts and emotions into unbridled mischief before handing over to the excellent Song For The Sinners, the best song on the album. It stomps with guileful invitation and addictive charisma whilst the licking flames of the again irresistible horns incite further temptation into its cute yet dangerous heart.

The One, The Only… is an outstanding album which guarantees nothing but full and breath-taking pleasure, and who could want to share those moments with anyone other than the temptress Chantal Claret.

http://chantalclaret.com/

9/10

RingMaster 03/04/2013

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Hype! : Hype

   Hype!

    Hailing from Zrenjanin in Serbia, Hype! is a band on the march and with their debut album about to set European rock music alight. Blending an incendiary blend of alternative rock, punk, and mischievous rock n roll, the band with their outstanding album is on the first step of a rapid rise of recognition, certainly if there is any reward for providing such an impressive and thrilling release.

Formed in 2009, Hype! takes influences from the classic rock and the punk fleshing of Seattle and Detroit in their prime. With a more than healthy wind of rock pop in the mix their sound is epidemically infectious with intimidating sinews coated ion the most delicious seduction. Openly accessible but still with a menace to all who enter, the album is the mightiest introduction to a band which is as honest as it is passionate and accomplished. Since forming the band has earned a strong reputation for their live performances which has seen them igniting numerous festivals including Exit, Warriors Dance Festival, and the INmusic Festival. The time is ripe for the band to step into the view of a much wider and further afield audience and they could not have made a more impressive first encounter than with Hype.

The Odlican Hrcak released album takes mere moments to set ears and senses on alert, the initial firm riffs and rhythms of Weird 862626_4790575076235_1416792272_nsetting the scene for the soon to join fiery guitar teasing and the outstanding vocals of Dragana Mijatović aka Gaga Lee. With a mutual snarl and melodic kiss to her tones the front lady oozes attitude and seduction with her delivery to bring the lyrics and heart of songs to life alongside the inspiring energy and creativity of her band mates. Into its prowling and accusing stride the track is a compelling instigator with loud whispers of Spinnerette and L7 to its presence, and an irresistible first engagement which is unafraid to switch tact and gait within its imaginative confrontation.

The single from the album Erase steps up next, the song retaining the feisty elements and tones of its predecessor whilst adding deviously addictive grooves and barbed melodic beckoning which remind of Biting Elbows at times. With a roguish bassline entangled by sonic hooks and acidic guitar wraps, the song romps with restraint but unbridled passion to continue the already in place infatuation upon the release, something the likes of What Do You Want From Me, Still Right Here, and Just A Boy only elevate. Though arguably the trio do not have the same impact as the first pair, all captivate with diverse and vibrant invention, and it is only the might of the other two which leave these slightly in their shadow. Still Right Here with its smouldering vocals and great throaty bass taunts from Miloš Kralj (also in Memlah) as well as air sizzling guitar craft from Pavle Kirćanski (Impurita) and  Dalibor Kurjak (ex-Gluve Kučke),leaves warm and excited emotions behind whilst the bluesy Just A Boy is simply a heated fascination.

From the Karn8 like joy of Same Stuff, the album hits its greatest heights with firstly Come Get Some soon equalled by Kill ‘em All. The first of the pair is a maelstrom of agitated rhythms and slashing riffs thrust into a psyche rock riot of invention, sound, and belligerence. Offering a further Red Hot Chili Peppers/ SOAD like grooved interference caged by the sturdy rhythms of drummer Darko Kurjak (Partibrejkers, Memlah), the track is an irresistible infestation of noise rock imagination. The following Kill ‘em All is a thumping pulse firing slab of melodic punk with Distillers spite attached to a Jimmy Eats World melodic craft, and again impossibly addictive, both tracks cementing the already seeded ardour with hungry relish and enterprise.

The magnetic Soulmates and the mesmeric Suicide with its smouldering elegance and enveloping shadows complete a truly impressive and breath-taking album. An explosive spectrum of imagination and varied flavoursome sounds, Hype is a release which sets Hype! as one of the immensely promising and invigorating bands to hit rock music in recent times.

www.hype-band.com

https://www.facebook.com/hypezr

8.5/10

RingMaster 14/03/2013

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The Cellophane Flowers: Staring At The World

Ringmaster Review – “Staring at The World engages thoughts and imagination like the sun invites the day, with warm mesmeric charm veined with heated enterprise. The Cellophane Flowers is a unique melodic joy to soundtrack steamy days and sultry nights.”

Since the release of their acclaimed If I Was A Girl EP and the following impressive Freeze Me single, UK indie pop band The Cellophane Flowers has been the source of much anticipation for their debut album. Staring At The World gets unveiled upon the world on December 3rd and without any reservations can be said to satisfy all hopes and expectations laid upon the London quartet and more. It is an enterprising and thrilling release of what the band term ‘psychopop’, not that their sounds have that deranged quality really but it does carry a certain disturbed presence which is captivating and quite delicious, a description which can be firmly applied to the album.

The four members of the London based band hail from four different corners of the world joining together to add their own distinct spice to a sound which is unique and imaginative. The first notable thing about The Cellophane Flowers is the distinctive and entrancing voice of Italian songstress Francesca Corradini, her sensual and magnetic distinct tones lighting up the heart of every song. Her vocals have an emotive caress which is as mesmeric as it is charmingly spicy to offer every song on the album a seductive flavour upon the already compelling sounds brought by guitarist Ian Sumner who grew up in Brazil, Australian-Italian-Maltese bassist Luca Napolitano, and drummer Nick Guy who has one side of his heart in Egypt and the other in Suffolk. The album was recorded with producer Dave Allen (The Cure / Depeche Mode / Human League / The Charlatans) and finds the band at their most potent and alluring yet, the ten songs it has within its distinct artwork melodic kisses of warm and tender mischievous pleasure.

 Voices is the first song to coax the ear and beyond, its initial simmering whispers a gentle breeze behind the teasing tones of Corradini and a rich sonic guitar enticement. The song has a building presence which incites the pulse and heart into adding their excitement to the rising energies of the track. As it opens its arms to their fullest melodic expanse the feeling of an imminent crescendo is realised with the energetic chorus and fairly rampant stroll the track elevates into. The teasing is repeated as the infectious charm of the song tinged with a shadowed breath overwhelms the senses for a glorious and inventive start to the release.

The following song The Promise continues the impressive engagement, its sinewy basslines and acidic sonics of the guitars combining to create an eighties gait which reminds of China Crisis at times and Au Pairs in other moments. The riffs of Napolitano has a wonderful snarl to their invention offering dark corners to songs which playfully counter the surrounding crystalline and glowing shards of melodies and rainbow like harmonies. The song finds this union at its height, though each and every track in their varied guises are fuelled by their superbly crafted companionship within the framework of sturdy and compelling skilful beats of Guy.

A trio of tracks in the glistening shapes of Pendulum Eyes, Forever Lost, and Tears Of A Clown sway and beckon next, the first two with a definite sixties air to their lush evocative sound. The first is a simple yet sharply defined pop song with an air of five decades ago whilst the second has a fuller soak of the same time within its smouldering elegance. Throughout there is a Donovan feel to the song within the at times scorching almost epic like indie texture of the song. The last of the three is a gentle weave of tender vocals and equally soothing sounds though again there is that miniscule of feistiness which marks all their songs.

The excellent Rock ’n’ Roll with its thumping and hypnotic drums, which the band say were recorded in a massive disused NHS hospital kitchen, sends extra thrills through the body alongside long term favourite song from the band, Belinda. The boisterous first song of the pair is a sizzling blend of raw guitar strokes and those contagious rhythms framing the ever absorbing vocals of Corradini. It is the most infectious ‘riot’ on the album which just sends tingles through the emotions when it opens up its pulse racing climaxes. It is like Throwing Muses and Whale at a teen hangout with Spinnerette and quite irresistible. Belinda is just as addictive with its calypso groove veined fiery caustic grazing of rock guitars and group harmonies. The track is a ‘collision’ of shadows and warmth lyrically and musically and quite brilliant.

Completed by the tangy western simmering Time, the persuasive Lucky Day, and the closing melodic fondle of In A Hole, the album is a release to accompany any emotion and The Cellophane Flowers a band destined to find a place in many welcoming hearts.

http://www.thecellophaneflowers.co.uk/

RingMaster 26/11/2012

Copyright RingMaster: MyFreeCopyright

The BellaDonnas – Serial Love

It is debatable whether any aspect of music is truly dangerous any more but there are bands which certainly add a bite and presence to keep one on their toes and the newest addition to that roll call comes in the shape of all girl quartet The BellaDonnas from Saskatoon, Canada. Releasing their debut song  Serial Love the band bring a fresh and formidable snarl to punk which leaves one eager and desperate to hear much more sooner rather than later.

Consisting of Zelda BellaDonna Zonk (vocals, guitar), Rebecca Corvette (bass, vocals), Morgue-Atory (guitar, vocals) and Betty Black Plague (drums), the band has been riling up and sending shivers down the spine of their hometown and state with their riotous live shows but now with the track and a forthcoming EP, the band look ready to take their aggressive attitude much further afield.

Serial Love opens with a resonating emotive guitar sound alongside lone vocals from Zelda and immediately it has a dark mystique with an air of venom. From an enveloping psychobilly sound the song erupts into a tempered but enthused stomp, the riffs and rhythms barracking the ear with a feisty menace and bruising intent. The song brings elements of the likes of The Distillers, The Cramps, L7, and Spinnerette with more than a whisper of ’77 punk via The Damned into its own distinct well of growling sounds. The guitars flay the ear throughout with irresistible results whilst the beats of Plague take command from their first appearance to the end to own the senses.

Lyrically the song is as direct and intimidating as its premise and when Zelda asks ‘…do I scare you, do I send shivers down your spine’ the body gives an instant answer.  The track does not open massive new doors for punk/horror punk but definitely adds something refreshing and vital which arguably has been missing from certainly all girl and female fronted bands since the demise of L7 and the prolonged silence from Spinnerette.

Serial Love ignites great anticipation for the first EP from The BellaDonnas which at the time of posting was planned for a September/October release. Punk has new avenging angels ready to take on the world, and all should be afraid, very afraid whilst loving every minute as one completely does with the four which make up this excellent song.

https://www.facebook.com/TheBellaDonnas

RingMaster 02/08/2012

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Twinkle and The Sluts – Sluttier Than Thou EP

With a name like Twinkle and The Sluts it was only going to go two ways. The band was either going to be a bunch of glam posers with pretence and a misguided belief in the actual weight and might or a formidable dirty rock/punk band with an attitude to match their edginess. Thankfully the UK punks are firmly in the camp of the latter and a band with the intent to stir things up with music that puts heart and creative energy first.

We called Twinkle and The Sluts punk but they actually sit nicely between that genre and rock to forge their own sound which, though as the Sluttier Than Thou EP shows the band are still defining it, has an impact and devilment which lights up the ear on every track. The band deliver a sound which feels inspired by the rock sounds of the likes of Distillers and Juliette and The Licks as well as being influenced by punk bands like L7 and Vice Squad. It is a stirring mix which only goes to accelerate the desire to hear more from the band.

 

The EP is of a demo quality to be fair but its rawness cannot hide the quality and vibrancy within the band and their music, and actually adds to the feel and edge of the contents. Each track fills the ear with little regard for comfort or gentle persuasion, the Birmingham based quartet eager to rattle cages and inspire reaction. The track Shut Your Dirty Mouth is a prime example. Opening with rhythms from drummer Curlz which intimidate from the off as Adam plunders the ear with his bass, the track erupts into a frenzied assault of guitar riffs from Alex primed to provoke a response. With the fine vocals of Twinkle taking charge the song is a slightly retro punk song which satisfies greatly.

The same can be said of Coffin Nail, another song dripping attitude which tramples over the senses with feisty riffs, forceful beats and commanding bass play. Brief though it is the song leaves blisters from its rock fuelled passion and scorched melodies. These two songs show a band with thought and ability in their songwriting and great balance in its presentation. Each song is solid and extremely pleasing but against the remaining two songs on Sluttier Than Thou are more the support for the main event.

Built To Last plunders the ear with rampaging beats from Curlz that hypnotise well before the caustic riffs of Alex and moody bass from Adam entrench themselves on the senses. The song again has a punk essence which here reminds of an X-Ray Spex and Hole rolled into one. Well crafted and confident the song varies its intensity and pace at times to intrigue constantly whilst Twinkle leaves no one in doubt to her and the lyrics intentions. The band have raised their game here wonderfully but they do not stop as the last of the quartet of great tracks explodes into the ear.

If there is one song right now that lingers and returns to the mind whenever it desires it is Narcissism. The song is glorious, its wanton swagger and taunting riffs as infectious as a cold. Spinnerette and L7 really come to mind here but the band have twisted those spices into their own striking punk rock song with a delicious twist of scarring melodies. The song confirms and strengthens the belief and thought that this is a band with a very bright future once they really get their sound defined.

Twinkle and The Sluts and Sluttier Than Thou will have you off your feet and joining in within moments of the first song, they are that contagious. There are not many truly outstanding punk/rock female fronted bands around currently but Twinkle and her cohorts are well on the way to joining them.

https://www.facebook.com/twinkleandthesluts

RingMaster 03/03/2012

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Karn8: Sick EP

A date for your diaries, February 22nd, the release date of the new eagerly awaited EP from UK rock band Karn8. It has been a long three years since their previous release, the 2009 album Of All The Strange Things, though the band has constantly kept busy with their hard work ethic of consistently gigging which has built up a fervent fan base at the same time. The Sick EP sees their return to recording  and shows the band has not only continued where they strongly left off but evolved into an even more impressive and essential band. The four track release owns the ear from the very first note to its last. Taunting and engaging, provoking and inspiring, the EP is an instinctive feast of intimidating riffs, wanton grooves, and additive swagger. Karn8 and their music make one feel dirty, lascivious, and most of all deeply satisfied.

Since forming in 2002, Karn8 has relentlessly riled up the senses with original creative rock sounds driven by provocative sex fuelled energy. Previous EPs Wicked Boy, Destruction Is The Answer, and Everything That You Despise, as well as the aforementioned album have rippled with tracks that excite and inspire with formidable additive sounds and a raunchy seduction. Sick not only continues this attack but raises it to irresistible proportions.

The title track opens the EP and immediately lays a claim for the track of 2012. It is hard to imagine any song matching let alone surpassing the sleazy orgy of pleasure that is Sick. The song saunters in on a teasing riff from Bones with his baritone guitar, as always the sound he produces is devilish and siren like. Within moments vocalist Kirst unleashes her seductive charms, her voice wrapping itself around the ear to caress and enthral with wicked glee. The song unveils a groove as essential as breathing, its scorched tone intertwining with the senses in a deliciously dark manipulation. As notable as the sound within the track is the union of vocal and silence two thirds in, Kirsts mesmeric suggestions surrounded by a silence that teases as it stretches the absence of sound to its limit. It is inspired and why Karn8 command such devotion one they sink their hooks in.

Following track Change My World is a gratifying full on rock tune, with the drumming of Leigh allowed to flex its muscles far more than the opener permitted. The band is always hard to compare to others which is wonderful, but here there is a slight Hole meets Kittie feel. The song rides an energy that is eager and insistent, with Bone’s guitar driving aural shadows into the ear alongside the vibrant vocals.

The EP is completed with more generous sounds within Stuck and Nothing. The first cruises through the ear with self-assured vaunt, its groove and sweetly mischievous vocals swaying like a cobra before the ear, ready to infuse their welcome captivating venom. With a tinge of Spinnerette about it the track it soothes and riles up the heart with equal measure. Nothing shifts into a more hard rock orientated track though being Karn8 it comes with their own distinctive flair and thorny style. Kirst bewitches and commands with her vocals yet again, her ability to twist, beguile, and exploit her audience as powerful in the studio as it is live. With Bones and Leigh destabilising the senses with their corrupting heavy and sometimes abrasive riffs and intrusive rhythms, the trio succeed with their determination to expose and feed the senses with the finest seemingly spontaneous rock sounds possible.

   Sick is a masterful release that with any justice will see it and Karn8 an important and obvious part of a vast number of personal playlists. Just give them a chance and listen and you will not be able to resist, and with another year of committed gigging and a proposed recording of a new album, this is the time to get your dose of the Karn8 sickness.

http://www.karn8.com/

RingMaster 17/02/2012

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