Tunabunny – PCP Presents Alice In Wonderland Jr

PCP Presents Alice In Wonderland Jr is the new and fifth album from US Transcendental Dance Poppers Tunabunny, a huge adventure which sees the Athens, Georgia hailing quartet at their most poppy, darkest, experimental, and compelling. A double album breaching 28 imagination stoking tracks, it is a kaleidoscope of sound; no track like any other or pretty much any offering from the band to date, and a carousel of creative drama which pushes the listener into places they might not know exist let alone have contemplated.

Apparently PCP Presents Alice In Wonderland Jr is “structured as a song-by-song response to The Beatles’ White Album” and through its songs explores themes such as surveillance, futility, alchemy and winter, metamorphosis and anger whilst its fourth side features a twisting song cycle about motherhood; from pregnancy to birth, through postpartum emotional desolation, to the rebirth of self. Whatever their inspiration, the album’s songs challenge and arouse physically, mentally, and emotionally ensuring you get a full and thrilling workout with the foursome of Mary Jane Hassell, Scott Creney, Brigette Adair Herron, and Jesse Stinnard.

Rather than do our usual track by track look, such its bulging size, we are going to pluck the moments which ignited the imagination most forcibly but be assured barely a moment passes within the whole release without making a potent and appealing impact. From the opening atmospherically sinister Cartesian Theater, a track which appears like an intro but is so much more, Tunabunny set the speakers and passions on fire with Incinerate. A recent single, the track is glorious; a slice of indie pop which has the head bobbing, feet shuffling, and ardour brewing within its first round of seduction. Adding one’s own breath is inevitable to a sublime chorus, the vocals a flirtatious beauty matched in temptation by the gentle swing of the sounds cradling their charm.

There is no better moment within the album but plenty of times rival the height of the superb encounter, the following Noise Problems a swift example with its post punk/new wave canter carrying a definite resemblance to eighties UK band The Passions. The stroll of the bass is as deeply appealing as the wiry jangle of the guitars, vocals again an inescapable magnetism in diversity and harmony whilst the song’s emerging discord is simply delicious.

The indie/psych pop of Seek Consequence is another major magnet; the swaying vocals siren-esque as darker hues brew and evolve behind their lyrical wiles until heatedly bubbling up with a drone like fever while Blackwater Homes rises up from a gentle melodic murmur into another virulently infectious and shadowed canter playing like a mix of Stevie Nicks and Pylon. Worryingly easy to be seduced by its haunting lures, and not for the first or last time fiercely tempting post punk bass bait, the track swiftly worms into the psyche.

The bass again grips the instincts within Oracle, its Psycho Killer like coaxing backed by shiny tendrils of guitar as vocals procrastinate; its success followed by the matching triumph of Start It where PiL meets The Breeders is a good hint to the track’s melodic post punk clamour. These tracks alone show the diversity within PCPPAIWJR, The Raincoats tinged pop clang of Nevermind The Cobblestones and the Slits scented monotone shuffle of Yellow Heart Is My Sky Sign further evidence, both tracks bringing fresh greed in a healthy appetite for the release.

A healthy addictiveness is spawned by the raw swing and charm of the boldly infectious The Way The World Works, the song a dulled yet sparkling gem in the album’s jewellery box of sound and another collusion of band and listener rarely matched outside of the album though within, the minimalistic pop of Me And Nancy, a track with an echo of The Cure on their very first outing, and the dark scuzz fuelled post punk of Pretending To Bend as well as the similarly styled but oh so different Count To Ten rise to the challenge.

There are tracks on the album which explore noise and its depths of suggestion, each inciting the imagination even when they barely grasp a handful of seconds in length; times which really test  but reward the listener’s ability to compose and interpret. With further moments of never less than thoroughly enjoyable and provocative adventure across the album, songs like It Could Be Something, the absorbing and inexplicable Shiftchanger featuring Jason Jackson Wellz, and Magic January all tantalising and enthralling, things are brought to a lengthy imposingly and enjoyable close with the fuzz pop clamour of I Thought I Caught It (With You).

As suggested, every track is a fresh and rewarding twist in the landscape of PCPPAIWJR, not one of them merely filling space and all firing up ears and imagination. Not for the first time Tunabunny has provided not only a real treat to mull over and enjoy, but another new plateau in their invention and imagination.

PCP Presents Alice In Wonderland JR is out now via HHBTM Records @ http://hhbtm.com/item.php?item_id=640 and https://tunabunny.bandcamp.com/album/pcp-presents-alice-in-wonderland-jr

https://www.facebook.com/Tunabunny/

Pete RingMaster 12/07/2017

Copyright RingMaster: MyFreeCopyright

öOoOoOoOoOo – Samen

photo_RingMasterReview

Every year seems to have one month where riveting surprises and essential releases come at ears in a keen flood. This year it is maybe two as October follows September in unleashing records which simply inflame the imagination, an increasing list now added to by the irresistible and rather deranged offering from öOoOoOoOoOo (“Chenille” in French, “Caterpillar” in English).

A new collaboration between former Pin-Up Went Down vocalist/lyricist Asphodel and multi-instrumentalist Baptiste Bertrand, öOoOoOoOoOo creates a theatre of sound and imagination within debut album Samen. “Visually built as an art exhibition”, the release is a kaleidoscope of styles and invention cast in an avant-garde/experimental metal/rock adventure. Helped by the rhythmic prowess of session drummer Aymeric Thomas who is no stranger to creating off-kilter and seriously unpredictable exploits with Pryapisme, the duo ignite and enslave ears and psyche from the very first seconds of Samen, never relinquishing their magnetic grip of mercurial enterprise driven alchemy.

Rules Of The Show opens things up, the track initially enticing with a tender melody as a darker groan lurks before quickly welcoming the instantly impressing tones of Asphodel. Her voice is as magnetic as the sounds brewing around her with a growing blend of bewitching harmonies courting as the song slips into a catchy stroll with a poppy air. Soon it unleashes its hellish heart in a ravenous metallic outpouring as honed in gothic and epic metal as it is through orchestral and melodic rock. It is a virulently infectious affair, its tempestuousness icing on the compelling cake with Asphodel’s unexpected and masterful barbarous death bred growls extra engaging bait.

Its increasingly deranged presence is followed by that of Fucking Freaking Futile Freddy a track wearing Pryapisme like scent at times but equally sparking thoughts of bands like The Creatures and Stolen Babies. Thomas is a blur of rhythmic tenacity, Asphodel vocally captivating, while Bertrand creates a tapestry of sonic and melodic bedlam shaped into one fluid skittishly versatile weave.

cover_RingMasterReviewFrom one pinnacle within Samen to another and the creative devilry of Meow Meow Frrru, a track teasing with melodic intrigue while taunting with bolder energies, the first shaped by electronic fingering with a slight medieval essence and the latter through climatic crescendos which become more irritable and prolonged with each expulsion. The deeper into its insanity the song goes the more it evolves, an espionage loaded hook and System Of A Down flavoured revelry especially tempting.

Straight away the suggestive lures of cello from guest and Psygnosis member Raphaël Verguin charm ears and imagination as the following No Guts = No Masters launches its bruising and increasingly dramatic rock ‘n’ roll upon ears. A blackened air grabs the senses at times, its occasional trespass imposing on the glorious melodic seducing surrounding the shining vocal prowess and class of Asphodel and a psychotic majesty which would be almost sinister if it was not so glorious and irresistible.

Verguin also features on next up Bark City (A Glimpse Of Something), his bow on strings the poetic shadow to a track which merges the melodic beauty of a Nemesea with the dark secrets of creative dementia, all on show in a track which kisses the senses as it corrupts the psyche. Again understandably there is a touch of Pryapisme to the song but equally Russkaja, Siouxsie and The Banshees, and Die So Fluid are pointers to the uniqueness of the band’s sound.

There is a Fleetwood Mac/Stevie Nicks feel to the bewitching Purple Tastes Like White, the track yet another brazenly diverse aspect to the landscape of Samen with the brooding bass a particular treat alongside the melodic might of Asphodel while I Hope You Sleep Well is a cracked and bedlamic web of ideas and imagination stirring sounds hard to describe in words but so easy to physically indulge in with its sinister nursery room childlike innocence and crazed invasive genius.

With Adrien Cailleteau guesting as on its predecessor, Well-oiled Machine draws ears next with its soulful R&B infused balminess. With a flaming sax igniting the jazzy noir atmosphere of the brief song, all courting the somewhat pub-singer like fun of the male vocals, the song only leaves a smile in the imagination before the outstanding Chairleg Thesis dances with the listener in an eighties spiced affair which is at times as ruggedly boisterous as it is erotically seductive and ravenously stormy.

Across the screwy pop/hip hop soaked metal of Fumigène, a song revelling in a Lady Dynamite meets The Sugarcubes meshuga, and the gothic rock drama of LVI where band and album explore even more enjoyable expectations defeating adventures, the latter with Germain Aubert and Verguin bringing their individual craft, the inescapable lure of Samen just strengthens.

Completed by the fierce death metal toned blaze of Hemn Be Rho Die Samen, a song soon showing an array of contrasting yet perfectly uniting strands to its inventive disorder and predacious appetite, Samen leaves an exhausted and blissful pleasure in its wake. Even in the most off-kilter sounds and releases there is an order, an underlying texture which links all. Within Samen it is only the members of öOoOoOoOoOo themselves as unpredictability and unbridled imagination locked into one glorious ride.

Samen is released October 21st via Apathia Records, available @ https://apathiarecords.bandcamp.com/album/samen

https://www.facebook.com/ooochenilleooo

Pete RingMaster 20/10/2016

Copyright RingMaster: MyFreeCopyright

Love Frame – Forgiveness

love_frame_RingMasterReview

Creating a fiery and rousing alternative rock roar, Love Frame is a quartet from Milan beginning to whip up some eager attention for themselves. They have provided a potent persuasion in sound and craft for a while with their debut album Forgiveness self-released back in 2014, but a success recently given a bigger vehicle to tempt from with its global release via the excellent Italian label Sliptrick Records. Offering eleven varied and dynamically arousing songs, the seriously accomplished release has constantly picked up new recruits to its melodic adventure and shows no hint of slowing down as band and album continue to reach new ears.

Love Frame began in 2008, releasing a mini EP the following year which soon brought the band to the attention of the Italian underground scene. The single/video Night drew stronger attention with its release in 2010 while its successor Run With Us two years later, only confirmed the strength of the band in sound and resulting support. Live too, they have continued to grow and earn increasing praise in Italy and Europe. Beginning to record their first album in the December of 2013, Forgiveness was released in the October of 2014, the band consisting of vocalist Giulia Lupica, guitarist Laerte Ungaro, and drummer Giuseppe La Gala at this point with the trio assisted by bassist Giuseppe Greco, who became a permanent member post album, on the recording.

Influences for Love Frame include the likes of HIM, Placebo, Billy Idol, Alter Bridge, and Hardcore Superstar; flavours which in varying degrees show their inspirations across Forgiveness, starting with opener Halo. From its first second riffs spicily crowd ears as the harmonic tones of Lupica flame up, her voice a swiftly impressive and suggestive proposal. As rhythms find a firmer touch and the bass grumbles, the song opens up its virulent temptation with those early riffs still enjoyably nagging the senses. They never do relent in their great persuasion across the song, just changing their sonic hues as each twist and turn arrives within the striking Forever Still meets Djerv like triumph.

The following Mine has an even more fiery air and character to its presence; the bass again an appealing throaty temper to tenacious riffs and grooves as well as the rhythmic agitation cast by La Gala. Strolling along with a catchy swing to its gait, the song is an ear grabbing flame with Lupica’s vocals hanging emotive tones from every lively incident within its creative drama; an enthralling quality backed by the delicious imagination of guitar and bass.

coveralbum_RingMasterReviewA Stevie Nicks air accompanies the vocals as the melodic caress of Real Love Exhibition simmers and boils next; its initial lure a tender charm which flows across the song with moments of greater intensity and volatility providing sweeping crescendos across its magnetic landscape. It is a bewitching offering then eclipsed by the outstanding Lie To Lie. An early burst of vocal tempting sets up an eager appetite for the infectious blaze of voice and melodic dexterity, the song in many ways epitomises the album itself; easily accessible whilst being anthemically rousing and bursting with adventurous twists and imaginatively skilful turns.

Through the emotive and rhythmic drama of Heart Box and the melodically snarling Maybe, ears continue to be offered forceful captivation. The first of the pair is as charming as it is imposing, dark rhythms and emotionally charged melodies colluding with vocal flames and stirring enterprise, whilst the second also brings contrasting textures together for its own thrilling and galvanic incitement. There is grouchiness to the riffs and equally the basslines skirting their bait and a sizzling surface to Lupica’s ever impressing and enthralling vocals yet it is all woven into a melodic waltz as elegant as it is fierce.

Lupica offers a vocal kiss on the senses as she opens up Blue next, her emotively reflective caress a mesmeric coaxing into the slightly more feisty body of the song With her delivery rising in intensity to match the blossoming sounds, the song is pure seduction, one of the album’s major highlights and instant evidence of Love Frame’s tremendous ability to blend warm and tender textures with livelier and more imposing incitement.

Escape has band and listener lured into a much more tempestuous moment next, its opening rub of riffs alone enough to whet the appetite before the song expands into another memorable escapade which might not quite match up to its predecessors but leaves a want for more the only wish before Save Me provides a commanding serenade which again has a strong and enjoyable air of Danish rock band Forever Still to it.

Completed by the resourceful adventure and sounds of Start Looking For and finally the acoustic romancing of ears and imagination that is Rakkaus On Ikuista, Lupica as beguiling as ever, Forgiveness is a real treat which only increases the enjoyment felt and impressive thoughts nurtured in its company.  It may not be a strictly new release to ponder but it is one all melodic and alternative rock fans should really consider introducing themselves to.

Forgiveness is out now via Sliptrick Records through most online stores.

https://www.facebook.com/loveframepage    http://www.loveframe.net/   https://twitter.com/loveframeband

Pete RingMaster 04/05/2016

Copyright RingMaster: MyFreeCopyright

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

Mohawk Radio – Two Million Heart Beats

Mohawk Radio _RingMasterReview

Based in Manchester, Mohawk Radio has been sparking a bit of a fuss with their vibrant sound on the UK rock scene and are looking to stir things a little more with new single Two Million Heart Beats, a song which has little difficulty making ears attentive.

Mohawk Radio artwork_RingMasterReviewFormed in 2012, it is fair to say that Mohawk Radio has regularly garnered praise and attention with their melodic rock enterprise. Led by the potent and powerful voice of Mia Page, and driven by the melodic and rhythmic adventure of James Gregory, Sean Frankland, and David Quinn, the band has played numerous acclaim grabbing shows at venues such as Deaf Institute, Academy 3, Dancehouse, American Ambassador’s Residence, and The Bedford, as well as various UK festivals to great success. With two well-received EPs under their belt, and tracks played on radio shows and stations from Manchester and across the UK to Europe, Mexico to the US, Mohawk Radio has seemingly rolled a sonic snowball persistently picking up acclaim; success set to continue with Two Million Heart Beats.

Sparked when Page watched Fleetwood Mac play Madison Square Gardens in New York, and inspired in title and chorus by a misheard advertisement, Two Million Heart Beats strokes ears with a melodic caress for its first touch, almost as immediately bringing in darker bass hues and a bolder surge of guitar for its second. Soon it is strolling with evocative melodies as Page’s expressive voice shares its heart. Even before it uncages a fiery crescendo for its chorus, the song has a great feel of The Pretenders to it and equally a Stevie Nicks scent to its magnetic charm.

From that first blaze, the track continues to be a feistier proposition with an equally increasing catchiness as sounds collude with the open prowess of Page’s voice. In some ways, there is something familiar to Two Million Heart Beats which works well with the freshness of persuasion and passion, a union ensuring enjoyment is high and the song a lingering proposal.

Two Million Heart Beats is out now through iTunes.

Upcoming live dates:

Sat 16th April – Star and Garter – Manchester

22nd April – The Bear – Taunton

23rd April – The New Market – Weston super-mare

24th April – Bar Brunel – Bridgwater

5 – 7 August Dairyfest Festival – Weston Super Mare

26 – 29 August – Watchet Festival – Somerset

http://www.mohawkradio.co.uk/   https://www.facebook.com/mohawkradio   https://twitter.com/OFCLmohawkradio

Pete RingMaster 04/03/2016

Copyright RingMaster: MyFreeCopyright

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

Horse Party – What I’d Do

 

 

by Kate Wood June 2015

by Kate Wood June 2015

As well as so far impressing with every release, UK alternative rockers Horse Party have also managed to bring hefty elements of surprise as their dark sound and song writing evolves. The band’s 2014 Integrity Records released debut album Cover Your Eyes especially came stocked with unpredictable and riveting adventure, qualities emulated and twisted yet again by the Out Of Sight​/​Receiver single last December. True to form, the Bury St Edmunds has again whipped up a fresh blend and imagination to their music with new single What I’d Do, and again there is no surprise it leaves ears and imagination enthralled.

The trio of drummer Shannon Hope and vocalists/guitarists Ellie Langley and Seymour Quigley, emerged in 2012 and through singles, EPs, and of course album, have earned a strong reputation and increasingly acclaimed stature in the British underground rock scene. Fan, media, and radio attention has followed suit in growing and blossoming greater attention upon Horse Party and for regulars and newcomers alike, it is easy to see why their bluesy, often melancholic, and perpetually gripping creative adventures just capture the imagination and emotions.

Fair to say that Out Of Sight/Receiver was Horse Party’s finest moment to date, a release even managing in many ways to outshine the band’s outstanding album. It impacted that much we wondered whether the band had peaked and would struggle to match the dark majesty of the release but What I’d Do soon addresses any thoughts. Its two tracks certainly do not leave the previous encounter in the shade but with their own unique character and new whiff of flavours, they boldly stand side by side in lighting ears and sparking new hunger for the band’s hypnotic sonic devilry.

What I'd Do cover_RingMaster Review    What I’d Do comes first, strolling in on dark riffs and crisp beats with shadows dripping off the former and scything resonance spinning from the latter. The sultry tones of Langley swiftly add her distinct temptation but though the song is still as dark and invitingly solemn as ever, there is a more melodic rock toning to it and the guitars enterprise. At times the song casts its spell on attention with a Forever Still meets Stevie Nicks like persuasion and though it is not a major shift in sound from say the last single, What I’d Do comes with a more relaxed and less agitated countenance. The spikier, more discordant elements of the Horse Party sound are always greedily devoured here but with the same kind of ease, the melodic roundedness of this track slips through ears and into a hungry appetite for its mellower though no less provocatively dramatic presence.

The following Horizons sees Quigley take the vocal lead, his expressive tones filling the darker climate of the song whilst the ever enticing and incendiary rhythms of Hope guide and framing the encounter with skilled prowess. The track from another reserved landscape begins brewing an increasingly volatile breath until eventually exploding in a blaze of raw guitar and melodic intensity. Though returning to its more restrained saunter, the song has already taken a new magnetic turn proceeding to twist and writhe with invention and vocal resourcefulness. Unexpectedly an essence of The Housemartins comes to mind at times early on though across its fluid landscape, Horse Party creates bracing roars and intimate caresses wrapped in dark emotion and ferocious imagination.

What I’d Do and its companion prove once again that Horse Party is one of the most invigorating and original lights in British rock ‘n’ roll; how they are not a household name yet is baffling.

What I’d Do is available now as a free download @ http://horsepartyparty.bandcamp.com/album/what-id-do-horizons

Upcoming Horse Party Live Dates:

Fri 17th July – SAWLEY (Lancs) Beat-Herder Festival

w/Levellers & Basement Jaxx

Sat 8th August – NORWICH Owl Sanctuary

Sat 22nd August – CAMBRIDGE Junction

Fri 28th August – BURY ST EDMUNDS Homegrown Festival

https://www.facebook.com/horsepartyparty

RingMaster 13/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Louise Latham: Reclaimed

The majority of artists whichever medium they immerse within find their full potency from the darker hues and shadows of life, the strongest emotions and instigators of ideas being those from the most extreme intrusions of happiness. Welsh singer songwriter Louise Latham is no different and with her excellent new album Reclaimed has brought forth songs which are borne from the fires of lost and shattered relationships as well as other full shadows. Whether the songs are personally driven or from close contact to the experiences of others there is a passion and breath permeating the album which is heart given not just a simple portrayal. The album though is not a heavy and morose feast but an evolving fusion of light and dark.

Cardiff girl Latham lived and slept the album during its creation. Her promo for the release stating in her own words “I slept next to the Telefunken analogue machine in the studio for the entire two-month period,” and further went on to say “It was quite a magical time, feeling surrounded day and night by the recording process, which for me is a creative process as involved and fulfilling as writing.” The attention spent on the release which she recorded with producer Arno Guveau in his home studio built specifically for the project, is evident in every note musically and vocally as well as the individual emotive atmospheres combining for an overall one of stirring passion and deep reflection.

Though the majestic folk pop sounds of Latham are not those to generally ignite the sparks of burning fires within this heart there was no denying the power and grace of the songwriting and its realisation. It took time but there has emerged a sure connection which will draw one back even after this review is completed even if only to particular songs. The most irresistible thing on the album apart from the songs and the voice of Latham herself was the wonderful use of strings throughout. Never adverse to the seductive haunting caresses of a cello or the inciteful plaintive teases of a violin let alone the instinctive yearning of the double bass, the songs held a mesmeric kiss upon the ear and with the also excellent piano play of Latham each song is a treat for the ear and heart.

I cannot claim each song found an eventual sure home because of simply personal taste but there was never a moment when the album did not have the fullest eager attention and though some tracks may not have left the firmest invitation to return as did others, each beautifully crafted and presented track was a delightful warm collusion of artist and recipient.

Many songs did light up beyond the ear especially the opening Saint. The song is a wonderful expressive admission of the heart, its hypnotic beats and stirring strings creating an impassioned air behind the outstanding touching vocals of Latham. Her voice is powerful and dramatic without losing or deflecting from the heart of the song. She has the perfect balance of insisting on attention without demanding it allowing her dark and often shadowed impressive lyrical composing to reach and touch every thought.

Further tracks like the magical Old Soul a song as haunting as it is emotive, Erase Me a folk rock track to enchant and excite all, and the exceptional Young Boy, only bring strong pleasure. The last pair of this trio reminds a little of Fleetwood Mac, or more Latham does of Stevie Nicks in her irresistible delivery and makes for nothing but pleasure in their company.

With Gilded Bird expansive in sound and emotion and the elegant closing title track seeing out Reclaimed wonderfully, this is an album which will thrill and wake up the emotions of all singer songwriter/folk hearts. For others like us with differently seeded tastes there is still a wealth of near perfect enjoyment to make Louise Latham and Reclaimed worth a sure and prolonged moment of our time.

RingMaster 22/06/2012

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