The Orange Kyte – Carousel

With two rather well-received albums under their belts, Irish-Canadian psych-garage rockers The Orange Kyte have already revealed an individual sound as rich in its variety as it is fascinating in its character. Even so with loose ends connected and its web of adventure extended it is an evolving exploration of enterprise which has now come to a head in new album Carousel.

The Vancouver outfit’s fusion of garage and psych rock with shoegaze and indie inclinations again breeds the tracks making up Carousel but each stands as an individual enticement as much a pop protagonist  as a rock incitement with many more flavours embraced in their fairgrounds of curiosity and adventure. From start to finish, the album dances with the body whilst taking flight with the imagination, its touch dirty and voice haunting but at its core a body of rock ‘n’ roll revelry.

Founded in 2016, originally as a solo project by Dublin hailing singer /songwriter/guitarist Stephen White (Magic Shoppe, ex- Strange Things and Ireland’s House of Dolls), The Orange Kyte inspirations include the broad likes of The Velvet Underground, Syd Barrett, Graham Coxon, The Byrds, Primal Scream, The Who, Death in Vegas, CAN, White Fence, Spiritualized and Super Furry Animals as well as psychedelia and krautrock in general. Many are essences which immediately flavour the heart and endeavour of Carousel as revealed by opener Masquerade!

The instant jangle of Mat Durie and White’s guitars immediately enticed keen attention as rhythms pounced, the psych flames of Matty Reed’s sax only intensifying the tempting. From its first breath quickly after, the song’s stroll is an eager bounce, the animated beats of drummer Dave Mulvaney as encouraging as the dark swing of Pierce Kingan’s bass, it all wrapped in the just as infectious hug of Durie’s keys. Together the ingredients made for a virulent and addictive enticement, one as rousing, bordering on the rowdy, as it was dark and invasively provocative.

The Modern Day Saints follows with a slightly more tempered gait but one again as contagious as the melodic warmth and enterprise making up its infection. As in all songs, Whites tones are a dream coated lure of temptation and lyrical observation within a web of tenacious sound while every element of the track hit the spot with Chris van der Laan swinging the sticks this time, the sax again especially potent before Distractions springs its melodic gossamer upon drum machine beats to beguile and haunt the senses. There is a House Of Love breath to the track at times which only adds to its psychedelic thought and irresistible seduction.

A rapacious appetite comes with the creative promotion of C.O.P., the controlled but boisterous persistence of the song again utter contagion even as vocals and melodic invention continually evolves and accentuates its ear gripping body while the following pair of Little Death Balloon and Demonstration Garden with their respective groove bound captivation and drone scented serenade similarly seized keen ears, the former a glorious slice of the band’s sound and imagination bound in one of the album’s major highlights with its successor, as all tracks, no lightweight in thick enterprise and temptation.

The R/B spun garage rock canter of Infinity Rope equally had attention in the palms of its transfixing surf coated hands to emulate the success of the tenacious garage pop antics shared by Sea Of Love / Ocean Of Hate before it , a constantly growing track again fusing psychedelic and pop exploits in a moment of creative manipulation.

The Chris van der Laan produced Carousel closes with the stripped down offering of Downfall, a sinking into sonic smog as inviting and evocative as it is disturbing and disorientating, and finally the sixties pop lined garage pop of Captain Ron. Both songs echo the diversity of the release, the band’s sound, and the inescapable lure of the creative fertility behind it all.

Carousel is a real joy, a ride of enterprise which effortlessly got under the skin whilst announcing The Orange Kyte one of the leading lights in the next decade of garage/psych adventure.

Carousel is out now on 12″ pink vinyl from Little CLoud Records (US/Canada) and Cardinal Fuzz (UK/EU) and digitally @ https://theorangekyte.bandcamp.com/album/carousel

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

Pete RingMaster 14/01/2020

Copyright RingMasterReview: MyFreeCopyright

Keep Breathing – Call Of Youth

KeepBreathing_RingMasterReview

Previously known as WTCHRS, before going on hiatus late 2013, Keep Breathing is a Newcastle hailing band which is about to present May 2016 with one of its more memorable moments. That comes in the shape of new single Call Of Youth; a flame of nostalgic and modern alternative rock which fascinates and seduces in equal measure.

Consisting of vocalist/guitarist Liam Milne, guitarist Jack Healy, bassist Thom Lewis, keyboardist Dale Knight, and drummer Alex Cook, Keep Breathing returned from their break to reimagine their sound and write new material with a new sense of purpose and creative fire, certainly if the new single is anything to go by. With shows across the UK alongside the likes of The Wedding Present, Palma Violets, The Vaccines, Drenge, and Public Service Broadcasting in its experiences, Keep Breathing had a potent base to reassess their next move from but there is no escaping a new sense of adventure and spirit accompanying their return.

Call Of Youth_Artwork_RingMasterReviewProduced by Ed Buller (White Lies, Suede, Pulp, Spiritualized, Slowdive, The Primitives), Call Of Youth is one of the early results of that time out and a striking and heavily enjoyable proposition it is too.  It is fair to say that the band’s alternative rock sound comes with plenty of other flavours and textures too, as quickly revealed in the new single. Its first few moments with Milne standing within an expressive weave of guitar and keys crafted melodies has a U2 feel to it, though that soon evolves as the rugged tone of the bass and the flowing stream of melodic and harmonic enterprise and suggestiveness brings a rich Echo and The Bunnymen air to the brewing infectious drama. Equally though, there is a distinctive character to sound and song which is all Keep Breathing; a stirring blend which with ease has ears and imagination enthralled and voice and hips involved.

It is hard to say that Call Of Youth is truly unique yet, apart from those spices mentioned, it stands alone in the crowd. It is easily accessible and boldly inviting yet stirringly individual its own way and that only helps to makes it something special.

Call Of Youth is released via End of the Trail Records on May 6th via iTunes and other stores.

KEEP BREATHING LIVE DATES:

Saturday 20th May ‐The Great Escape Festival, Brighton

Friday 28th May ‐ Sound City Festival, Liverpool

http://keepbreathing.co/   https://www.facebook.com/keepbreathinguk   https://twitter.com/keepbreathinguk

Pete RingMaster 06/05/2016.

Copyright RingMaster: MyFreeCopyright

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

Towns – Get By

Towns promo

When the opening track Get Me There from Towns’ debut album Get By hit the ear it must be admitted that the defences rose up just a touch as a mesh seemingly bred from the world of Madchester consumed the ears. It was not an abhorrent proposition but seemingly recalling a scene happily left lonely in our thoughts many years ago. It has to be said though that through time, even within the first encounter with the release, the Bristol based band’s first album has seduced doubts and resistance to emerge as a rather riveting proposition. It has not defused all reservations but standing as a unique proposition in sound even with its heavy essences of The Stone Roses, the Charlatans, and a Shaun Ryder-esque swoon, the album is a magnetic call within which certainly extra additives of The House Of Love and My Bloody Valentine help the persuasion.

Formed by childhood friends, Towns has had a shed load of experiences since forming to test any band’s perseverance and confidence. From being declared as the best new band of 2011 by NME after just a pair of demos and no live shows, the band endured a former booking agent running off with over £1000 of the their money to almost bring the band to a stop and after having the high of working with Owen Morris (Oasis, Verve), seeing the label paying the costs being swallowed up by a major to their detriment. It seems to have made Towns only stronger though as they continue to draw acclaim and attention. Live their performances, which have seen them alongside the likes of Paul Weller, Spiritualized, The Twang, Toy, and Eagulls, has only enhanced their presence and emergence something expectations assume Get By will accelerate.

The first impressive thing about the Towns sound and release, is the wall of scuzz seeded sound which glazes every note and imaginative Towns_-_Get_By_-_Artworkswell within their songs. It makes for an almost mesmeric wash which the smooth smouldering vocals accentuate and blossoms within, something which definitely shines from within opener Get Me There. Emerging from a sonic mist with a grinning bassline and fiery guitars, there is an immediate swagger to the song, its rhythmic shoulders swinging and confidence almost arrogant within distorted melodies. It is an appealing lure but sounding so close to earlier bands mentioned and holding a Happy Monday’s like irreverence that it lies dormant against personal appetites even if winning over attention easily. To be honest the song does become more potent and enticing over time but always there is something stopping a full recruitment to its charms as subsequently achieved by other tracks. Nevertheless with its eager gait and thick breath of sound it makes a welcoming lead into the following Marbles.

The second song springs from a scythe of feedback with a percussive shake and acidic guitar flames before settling into a tender coaxing. It is smouldering lure which erupts into climactic expulsions of intensity and raw guitar enterprise as vocals simmer and glide with mellow countenance. The bass as with the first song stands out, this time with a rapacious edge whilst the guitars scorch air and senses with impressive endeavour which a cavernous production cannot deflate. It is an intriguing and gripping track which flows seamlessly into the throaty prowl of Trip Over. Like a blend of its predecessors, the song strides with sureness in attitude and sound which worms away under the skin, the album already at this point causing a reassessment of earlier thoughts. There is causticity to the song as in the previous one, which brings thoughts of Birdland to the surface.

Both Gone Are The Days and Just Everything add new raucous invention to the album, the first unveiling a blues toxicity which permeates every riff and flaring of guitar sculpting to great effect, whilst the second brings a sultry twang to its melodic bait again to carve an engagingly infectious persuasion. The surface feel and touch of Town’s songs do carry a too familiar edge amongst themselves and to other bands previously mentioned, but in their belly a cauldron of enterprise and instinctive invention is diversely at work, you just have to look closer.

Too Tired emerges from a crystalline resonance soaked sky to sway and swirl over the senses, its body a temptress and voice a spellbinding waltz which caresses with elegant expression and warm invasive melodies before making way for the thrilling Young At Heart. Its opening tasty groove is irresistible and again has that Birdland like lilt to captivate from its first intensive note. From there the song discovers a harmonious sixties beauty to its enticing which in turn coaxes a greater richness in vocals and sonic colour from within the song. The album is at its pinnacle in its middle as evidenced by this pair and Heads Off with its delicious gnarly riffs aligned to floating melodies and vocal harmonies. In full stroll the song is a raw and abrasing treat which its soothing twists revitalise for another hungry devouring of the caustic rub of the excellent track.

The emotive call of Mirror Ghost slowly envelopes ears and thoughts next, its loud provocative whisper casting a melancholic smile which tantalises the imagination and to a lesser degree emotions. It is a slow burner which convinces in proportion to its creative growth especially the further it drifts into a sonic antagonism, and though it lacks the spark of previous songs it is impossible to not find a good appetite for it.

The final two tracks just do not have the same reach and success, Everyone’s Out which features Robin Stewart (The Naturals), Dom Mitchison (Velcro Hooks), and Richard Clarke (Scarlett Rascal) feeding rather than exciting expectations and the reflective part acoustic, part sonically messy title track, a disappointing end to what turned out to be a rather thrilling and enjoyable encounter. The last two songs will easily please other appetites though whilst Get By as a whole is a release it is fair to say brings a slice of fiery sun to anyone’s day.

Get By is available on limited 12” vinyl (100) and cd from Howling Owl Records as well as digitally from online retailers now!

https://www.facebook.com/townsband

8/10

RingMaster 02/06/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com