Ummagma – Compass

Though any Ummagma release is welcomed with eager intrigue and anticipation by us among a great many the recent Caravan single raised the ante for the band’s new album with its captivation soaked release. The fact, though we have had numerous singles and EPs between, that Compass comes a lengthy seven years after its same day released two predecessors only added to the excitement coated suspense. What the duo’s third full-length offers is their most eclectic and rousing collection of tracks and quite simply their finest most exhilarating moment to date.

The pair of Canadian Shauna McLarnon and Ukraine hailing Alexander Kretov embraces everything from shoegaze, dream and synth pop to electronic and rock driven imagination with plenty more in the abundant enterprise of their new encounter. it is a release and collection of songs though which still revel in the atmospheric and ambient dreamscapes the Ontario based pair has earned thick acclaim and a potent reputation for. The album’s first single suggested that the Ummagma sound had evolved to a whole new tapestry of adventure and diversity, a bold aural kaleidoscope now confirmed and taken across a compelling array of individually and uniquely fresh landscapes by Compass.

The album opens up with Rolling and instantly infests the senses with its animated funk incited rhythms. Hitting its joyous stride soon after, the track bounces along dragging the listener to their feet, Kretov’s vocals a ringleader to the boisterous escapade. With its Talking Heads meets Dalek I Love You like shuffle, the track gets the release off to a thrilling start, one more than accentuated by successor Caravan.

The second track similarly had attention and instincts alive with its rhythmic introduction alone, bold tenacious beats a tribal intimation within the suggestive sonic vegetation that surround them. With body and imagination swiftly enslaved, McLarnon’s ever siren tones warmly caress as the song expands its scenically melodic emprise while the alternating blend of the duo’s voices only adds to the cinematic lure and enticing climate of the exceptional encounter.

Otherwise is next up, the song sharing another individual clime of sound and flavour as Caribbean-esque hues gently but firmly trot within an evolving dream pop serenade. More than ever it proved so easy to sink into the soundscapes of Ummagma as within just three songs Compass had unveiled a new plateau of craft, imagination, and temptation; an enticement nagging at the senses as eagerly within the electronic ambience coloured LCD. With voices as much a lively texture as the sounds courting the same evocative space, the track swept across the senses to, if not quite to the same heights as its predecessors, strongly captivate.

Equally the dream nurtured pop of Elizabeth 44 proved a beacon of persuasion and manipulation, guiding hips and attention with a knowing smile as McLarnon again beguiled, while Blown straight after was swiftly under the skin through its opening indie strokes of guitar alone. As its atmosphere grew and thickened with crystalline synth tempting and a hazy breath the track only enhanced its hold especially as cosmopolitan shapes and melodic silhouettes came forth to dance with keen rhythms and conjuring imagination.

The following predominantly instrumental F-Talking is one of those Ummagma tracks which sparks a fresh inference upon the imagination with every listen, its ambient search and discovery enthralling and interpretation never concluded with successor Galicticon, a spatial float across an expansive melodic sky of equal intimation, just as potent on ears and thoughts.

The diverse character of Compass continues at pace with Lotus strolling in on a shoegaze swing as Kretov walks its wiry threads. There is a touch of Paul Haig to the excellent song which only adds to its rich presence as too a Cocteau Twins like seducing which makes for a similarly alluring essence within the pastoral summer of High Day that follows with matching fascination.

The pair of Colors II and Cretu ensures a fair share of the imagination is cast on their adventures too, the first a slice of indie rock with a folk meets post punk shading and the second an ambient glide across mercurial and unpredictable scenery, every instrumental second a dawning of new suggestive sights to captivate thoughts and senses.

The radiant Bouquet brings Compass to a mesmeric conclusion, its hug shadow clad yet brightly seductive and breath foreboding but rousing. It is an eagerly magnetic end to an album which charmed, tantalised and absorbed from start to finish with moments of creative rapture set in between. Ummagma just go from strength to strength, from bold adventure to striking imagination releases by release; Compass the indisputable proof.

Compass is out now via Leonard Skully Records; available @ http://ummagma.bandcamp.com/album/compass

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Pete RingMaster 31/07/2019

Copyright RingMaster: MyFreeCopyright

Cat Dail – Fight for Love

Sparking a spring in the step as it dances with the imagination, Fight for Love is the new release from US singer songwriter Cat Dail. It is a seven track offering which creates a web of styles and flavours woven into one irresistible party for ears with the Chesterfield, NH bred Cat. She has been a potent participant in her national Indie rock scene since the nineties and surely is now about to tempt far broader attention with this contagion fuelled new album.

Not only as a whole but individually the songs within Fight for Love are joyful conspiracies of sound. Whether you call its instincts as pop, rock, funk, blues or whatever, and all apply song by song, the fusion of flavours is a perpetually imaginative and magnet combination. Each track has a unique personality and invention united in the welcoming enterprise of Cat’s voice and lyrical temptation.

The EP begins with Can’t Buy Love, the song slipping in on a rhythmic impulse to spread a tantalising climate of woozy intimation and sound around the immediately engaging tones of Cat. Seductively haunting and suggestive in its melodic air, the song similarly captivates with its hip sparking sway and slow but lithe gait; the craft of guitarist/bassist Teddy Kumpel and drummer Shawn Pelton, as across the whole release, matching the prowess of Cat. Surf, blues, and country spices all add to the smoky temptation getting the EP off to an ear grabbing start.

Similar hues collude in the following Player, a slice of rock funkiness and melodic rock with a whiff of Fleetwood Mac to its lively stroll. Once more the vocals just dance on the ears as they lyrically tease, the song’s imagination just as rich and pleasurable as the song fluidly ebbs and flows in its constantly inspiring energy before Catch Fire grips feet and hips with its mellower but just as manipulative shuffle. Reggae nurtured flavours unite with surf rock currents as the song flirtatiously entices, a country twang teasing in its swarthy air.

Both tracks just hit the spot though are still eclipsed by the following Wonder Love, a heavier slice of pop ‘n’ rock which almost prowls the senses before uncaging one inescapably catchy chorus. Everything about the track is pure temptation amidst creative manoeuvres which just got under the skin in swift time, again an array of flavours combining to charm and bewitch.

Featuring trombonist Clark Gayton and Steven Bernstein on slide trumpet, Flow Zone is equally as compelling and joyous with its Talking Heads meets Molotov Jukebox conjured canter. Unsurprisingly another individual collage of flavours is honed into an ear gripping adventure around rhythms which alone incite body and spirit to indulge. It all adds up to the best track on the release, one which lingers and teases long past its departure.

The EP concludes with the pair of She Can Fly and Molly & Matchbox. The first offers an alluring sunshine of pop lined sound, a radiant embrace of melodic romance added to by the keys of Andy Erin and led by the perpetually tempting voice of Cat. Its successor is a country rock bred encounter with sultry climes and melodies around instinctively open vocals and words. There is also a fire in its belly which bubbles up from the song’s natural simmer and though, simply down to personal tastes, the song did not thrill as its predecessors it still ensured the album closed on an unmistakable high.

However you wish to describe Cat Dail’s sound, which as its press release asks “Is it Blues? Funk? Rock? Soul? Folk?” it is sheer magnetism and pleasure within Fight for Love, a record which puts a smile on the face and in the spirit.

Fight for Love is available now @ https://store.cdbaby.com/cd/kyalb01283297 and https://catdail.bandcamp.com/album/fight-for-love

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

Pete RingMaster 26/06/2018

Copyright RingMaster: MyFreeCopyright

Hey Colossus – The Guillotine

As proven time and time again with UK outfit Hey Colossus, the only thing expectations can assume is that any encounter with them will be thickly compelling and singularly distinct in theirs and the surrounding musical landscape. And so it is with new album The Guillotine, a release taking the sextet’s sound to a new terrain of adventure and unpredictability whilst bewitching body and imagination like never before.

Formed in 2013, Hey Colossus have persistently nurtured and evolved their sound and its exploration; from the earlier lo-fi sourced, psychedelic and heavy noise rock bred triumphs of Radio Static High and In Black And Gold, the two albums which really drew thick attention the way of the band through the more hi-fi live causticity of Cuckoo Live Life Like Cuckoo, nothing has ever stood still or relaxed into one realm of imagination. Within those albums, there was an open quest to push things further and further.  The Guillotine is no different, a creative emprise of brooding tones and dark atmospheres woven into trespasses of the imagination and physical arousing of body and spirit. Using hindsight, there has been hints to this new vein of fertility within previous releases, especially those just mentioned but glimpses of something startling and vigorously thrilling which trespasses us now.

The Guillotine sees the controlled and new mesmeric tones of Paul Sykes to the fore, his presence almost like a storyteller and as boldly alluring as the sounds and voices found within the collective ingenuity of Rhys Llewellyn, Roo Farthing, Robert Davis, Joe Thompson, and Timothy Farthing alongside. The album begins with the tantalising dark psych rock of Honest To God, a track which is pure alchemy. Its initial wiry psych shimmer breeds a post punk lined meander as a slowly strolling guitar and bass grooves saunter across the awakening web of temptation. Every aspect is a rich lure, accentuated by Sykes’ gentle but dark vocal swing. Like a nostalgia kissed mix of Spizz Energi, Zanti Misfitz, and The Three Johns, the song teases the psyche with its seductive fingers while brewing up a raw energy which erupts with scuzzy zeal. Revolving through each stage of its perpetual metamorphosis, the song is pure manna for noise/post/psych punk hungry ears and appetite.

The exceptional start is swiftly followed by the fuzzier venture of Back In The Room, a track rolling on hypnotic rhythms and fizzing upon the senses with its three guitar pronged shuffle. The dual attack of vocals is just as magnetic, a collusion resourcefully driving the volatile proposition with a hint of The Birthday Party adding to its arousing shadows and increasingly rabid head. The song is part nagging dirge and part raw but multi-textured seduction united in a thorough captivation which eventually makes way for the gentler climate of Calenture Boy which smuggles its increasing delirium through ears while a smouldering climate is equally blessed with a sonic psychosis which sizzles with increasing heat second by second.

Its raw croon is followed by the mercurial enterprise of Experts Toll where beats dance with flirtatious trespass as the bass throws its own captivating dark steps into a jungle of craft and skittish imagination. The song’s relatively calm opening and agitated dexterity is subsequently given to more forceful inclinations, the track twisting into a heavily stomping, dirtily intensive brawl of enticing sound cored again by those unruffled vocals before Potions casts its own somnolent charms around ears like a melodic narcotic shaped with stout rhythms and veined with willowy psychedelic tendrils. As its creative elixir thickens so does its intensity but moving through the stages of evocative density with a calm and fluid ingenuity.

Though every track within The Guillotine had us locked into its snare, certain moments simply steal the passions; Englishman the stealthiest, glorious one of all. A stroll of senses clipping beats, broody basslines, and teasing riffs, the song simply bewitches. Scything melodies and infection loaded vocals only add to the irresistible bait enslaving ears and imagination which though not necessarily in matching sound, creates a tapestry rich in the attributes of XTC, Melvins, Talking Heads, and Fugazi; all twisted and reenergised by the unique imagination of Hey Colossus for total bliss.

The album concludes with firstly In A Collision, another brooding trap of sound and creative cunning as shadowy as it is instinctively catchy, even when its once darkly mellow body and atmosphere ignites with dirty raptorial virility. Raw beauty from start to finish, the song is succeeded by the album’s title track, an even more predatory proposal drenched in melancholy, antipathy, and sonic mesmerism with the bass at its earthiest, carnivorous best. With the guitars as potent in elegance or being abrasively bracing, the song is a final captivation to get hooked on and lost in.

The Guillotine is simply magnificent, leaping to the frontline of favourite releases of the year so far with its manipulation of body and imagination while proving Hey Colossus as one of, if not the, most exciting thing in the weaving of noise around.

The Guillotine is out June 2nd through Rocket Recordings and available @ https://heycolossus.bandcamp.com/album/the-guillotine

https://www.facebook.com/heycolossus/    https://heycolossusband.wordpress.com/    https://twitter.com/HeyColossus

Pete RingMaster 02/06/2017

Copyright RingMaster: MyFreeCopyright

Roddy Hart & The Lonesome Fire – Swithering

RHLF_RingMasterReview

With its Scottish meaning of uncertainty about things a contrast to the decisiveness ears and passions find for its imagination bred proposal, Swithering is quite simply an album glorious in every essence. The new full-length from Roddy Hart & The Lonesome Fire, it is a kaleidoscope of flavours and inspirations hinting at  some of Scotland’s most potent bands and more besides yet any influence feels a coincidence rather than a drawn spark for a release eclectic, unique, and increasingly irresistible.

Embracing the songwriting craft and class of vocalist/guitarist/pianist Roddy Hart, the Glasgow hailing septet band is completed by bassist Scott Clark, guitarists John Martin and Gordon Turner, drummer Scott Mackay, pianist/organist Geoff Martyn, and keyboardist Andy Lucas, with pretty much all also offering vocals and harmonies to the album as captivating as the melodies and lyrical adventures helping shape it.

With their critically acclaimed 2013 released self-titled debut album nominated for the Scottish Album of the Year and sparking US TV host Craig Ferguson to invite the band to perform on The Late Late Show on CBS that same year, that leading to a 5-night residency playing to a combined audience of over 12 million viewers, Hart and co had already plenty to live up to with their next move. A Scottish Variety Award for International Breakthrough Artist of The Year and a nomination for Best Band at the Spirit of Scotland Awards were followed by the band performing at the opening party for the Commonwealth Games and a celebrated show with the Royal Scottish National Orchestra.

Their reputation as a mighty live proposition was quickly established alongside their successes and relentlessly cemented by each further show and their yearly self-curated Roaming Roots Revue for Celtic Connections. For most of 2015, the band predominately concentrated on writing and recording songs now making up Swithering, a release co-produced by Paul Savage (Mogwai, Emma Pollock, Admiral Fallow) about whom Hart says, “He was key to adding a sense of perspective – and calm – to it all, allowing the madness of this new working relationship forming between us to unfold in the most creative way possible.”

art_RingMasterReviewIt is a creativity which looms impressively upon ears and thoughts from the opening strains of first track Tiny Miracles and persistently blossoms to greater heights across song and its subsequent companions. The opener flirts with the senses instantly, its initial guitar melody soon holding hands with Hart’s alluring tones and the rising caress of atmospheric keys. Quickly the track is strolling along with the darker shadows of bass riding the anthemic lure of drums as melodies and harmonies seduce from all angles. It’s controlled but enthused liveliness is as insatiable as the hunger of ears to devour it, an essence of Lightning Seeds coming to mind as the song grabs hips and imagination with consummate ease.

The diversity of Swithering is quickly established as the colder haunting charms of Berlin closes in on the senses. As Hart expresses his thoughts, the song reveals the city is much more than just a destination vocally and emotionally for the songwriter’s heart. There is a persistent eighties flavouring across the album, here the band creating a provocative flight through a Thomas Dolby meets James Cook tempting with Thompson Twins like revelry to its rhythmic enticing. The song is entrancing and again infected with a catchiness which takes a growingly incisive hold, a quality just as open and commanding as that shared by the Talking Heads spiced Low Light, a song also prompting comparisons to Bill Nelson as it dances provocatively in ears.

Again though, as those around it, it emerges as something distinct and individual to Roddy Hart & The Lonesome Fire, a trait only backed by the melancholic beauty and drama of No Monsters and recent single Violet. With keys and piano alone conjuring a palette for the imagination to conjure with, backed by the sweltering sighs of guitar and the vocal hug, the first of the pair gently but firmly bewitches before its successor with its own mellow countenance entices with an increasingly infectious swing.

Next up Dreamt You Were Mine is another song with a deceptive virulence which grows and breeds a welcome trespass loaded with an abandon which only consumes and inspires the listener while straight after Faint Echo of Loneliness shows Josef K invention in its indie pop/post punk like character. Both tracks broaden the creative landscape of the album while binding ears and appetite closer to its adventurous intent, though they are soon eclipsed by the majestic roar of In the Arms of California, surely a highly tempting single in the waiting with the suggestive flair of Pete Wylie and raw pop allurement of Orange Juice in its melodic serenade and impassioned blaze.

Through the haunted climate and reflective release of I Thought I Could Change Your Mind, a song slipping under the skin with every passing imaginative minute and in turn the climactic Strange Addictions, the album pours on the instinctive variety and invention within its creators. The latter is a tempest of emotion and sound as forcibly contagious as it is rousingly evocative and sublimely tempered yet complimented by the more composed but just as catchy canter of Sliding. Like so many of the tracks within Swithering, it almost instantly has highly persuasive claws into the listener, gripping tighter as it brews even bolder catchiness in its imposing intent.

Concluded by the dark, almost melodramatic carnival folk flavoured We’re the Immortals, a song musically and lyrically as intimate as it is majestically radiant and suggestive, Swithering is an adventure and event for body and spirit; a success epitomised by that final treat of a track. Roddy Hart & The Lonesome Fire are no strangers to attention and acclaim but nothing to what Swithering will surely spark.

Swithering is out now across most stores and on all formats, including limited edition 180g vinyl, through Middle of Nowhere Recordings.

http://rhlf.co.uk/   https://www.facebook.com/RoddyHartandtheLonesomeFire/   https://twitter.com/RHLFband   https://twitter.com/roddyhart

Pete RingMaster 13/12/2016

Copyright RingMaster: MyFreeCopyright

Browlin – To The Border!

Browlin_RingMasterReview

Luring ears and imagination into the sultry climate and shadows of the Wild West on a funk infused wave of melodic and lyrical adventure, To The Border! is a highly suggestive and seriously captivating encounter everyone deserves to treat themselves to. Released by Browlin, the album offers up the smouldering melodic artistry of Morricone, the dark honesty of Johnny Cash, and the lyrical conjuring and prowess of Helldorado with the vocal suggestiveness of Rooster Cole for extra spice. The result, something as unique and magnetic as you could wish for.

Browlin is the latest moniker of Oliver Brown who previously was engineer and studio manager at Skint, where he gained Top 40 credits, hit 2m views on YouTube and was part of the incredible success of artists such as Fatboy Slim. With his new project, Brown has moved away from his electronic past to immerse in heartfelt picturesque songwriting embracing indie and funk imagination upon Latin honed rhythms and emotions.  To the Border! is the result of his exploration, an encounter which infests ears and imagination like the dirt and hot atmospheres its song’s premise’s and climates suggest.

The album opens up with Border and an immediate cinematic strum of guitar, it’s coaxing quickly joined by darker tones of bass and those Latin inspired beats. Lone harmonies and the subsequent vocal touch of Brown soon add to the already evocative prowess of the song, its lively canter taking the appetite in tow with little trouble. With keys joining the Mexican hued saga the track makes for a compelling start though it is soon eclipsed by the following Pieces. Brown’s gravelly hum aligns to another single melodic lure to open up the song, his vocals and words swiftly seducing the imagination as the guitar soon after leads into a bass and keys driven slice of melancholic funk ‘n’ roll. Even without electronic essences, there is a touch of The The to the track, even as it induces hips to swing and feet to eagerly shuffle.

art_RingMasterReviewIts success is matched by the earthy majesty of All My Days and in turn the flaming revelling of There’s Always A Way. The first of the pair keenly walks and then bounds through ears, more flirtatious rhythms seizing body and spirit as vocals and melodies paint a brooding yet warmly alluring picture. Virulently catchy with keys and harmonies bordering salacious, the outstanding track is matched in majesty by its successor, a Cajun-esque dance with spicy harmonica and woozy melodies within a climate of moonshine fuelled, and inspired carnival.

The thrills and seduction continue at an already irresistible level as Big Deal romances the senses with its Th’ Legendary Shack Shakers meets Chris Isaak swing next. Once more the harmonica almost burns its way into the passions while a thickly appetising soak of discord invades guitar and tone. It is an off kilter pleasure transforming into the haunting and fiery beauty of All About Us without a breath being shared. The new song slips under the skin within seconds, its repetitive hooks and melodic bait as enslaving as Brown’s vocal craft and expression and in turn the orchestral weight of an increasingly epic encounter.

I Sit Alone allows the body to at least rest next, it’s smouldering entrance with female sighs the canvas for the reflective declaration of Brown. You can almost see him sitting on the front porch of a barren land sitting shack or under the moonlight against a hanging tree as he pours out his heart. It is a dark and maudlin moment which subsequently evolves into a funk nurtured shuffle, rhythms and guitar entangling in a brewing descriptive sound and hopeful suggestiveness taken to new heights by the gorgeous landscape of following instrumental Death In Mexico. The piece is glorious, cinematic melodic poetry Morricone himself would be proud of and a track as intimate as it is visually vast.

To The Border! concludes with firstly Well I Never, another superb swinging incitement for ears and imagination with a whiff of Talking Heads to it and lastly On The Bank, a final fascination of sound, voice, and word bringing the album to a mighty close.

Not really aware of Brown’s previous work as such, all we can say is thank goodness he has ventured into new adventures through Browlin because quite simply To The Border! is an album bringing a new creative emprise to the whole music scene.

To The Border! is out now via Rife Records across most online stores.

https://www.facebook.com/browlinuk   http://www.browlin.com/  https://twitter.com/BrowlinUK

Pete RingMaster 25/08/2016

Copyright RingMaster: MyFreeCopyright

Japanese Fighting Fish – Swimming with Piranhas

Photo by Scott M Salt Photography

Photo by Scott M Salt Photography

The highly anticipated third album from British aural dramatists  Japanese Fighting Fish is uncaged this week, a release which not only confirms that there is no other proposal like the London based quartet but shows the band hitting another plateau in their breath-taking sound and invention. There are few with the musical craft and adventure to match an imagination as daring as it is inimitable but Japanese Fighting Fish have it all in abundance and in full enthralling flow within Swimming with Piranhas.

Formed in Leeds in 2009, Japanese Fighting Fish had a great many hooked, including us, by the release of debut album Just Before We Go MAD two years later. A release experimenting with South American rhythms as raw vocals and dirty guitars played, its compelling success was eclipsed by its successor, the punk infused Day Bombs of 2011. Releases and years have seen the band draw comparisons to the likes of Faith No More, System of a Down, QOTSA, Nick Cave & The Bad Seeds, Red Hot Chili Peppers, Primus, and Frank Zappa, but as evidenced once more by their latest triumph,  Japanese Fighting Fish really do stand alone in character and sound. Mastered by Tim Young (Massive Attack, The Clash, Sex Pistols, Nick Cave & The Bad Seeds, Elbow, and The Beatles ‘Love’ Album), Swimming with Piranhas is the band at its most eclectic yet and offering a collection of funk infested, theatrical exploits; quite simply rock and roll with the devilry and boldness of creative insanity.

Inspired in title by the real life wild experiences of vocalist Karlost Thompson and drummer Al Sweetman whilst staying in Ecuador with a Quechan tribe where they took a dip in the Amazon River, Swimming with Piranhas has ears and imagination swiftly gripped with its opening title track. A lone spicy groove teases first, it soon joined by broader sonic sighs and boisterous rhythms as the song increasingly expands into a hip swinging, rhythmically riveting magnet. Once the familiar, ever expressive and captivating tones of Karlost complete the line-up of creative cast, the imagination is taken on a beguiling off kilter ride. With kinetic beats and baroque scented organ shaped theatre adding to the ever shifting gait and mood of the encounter, the opener is sheer captivating as fiery and infectious as it is thought provoking and a great sign of things to come.

art_RingMasterReviewThe excellent start continues and hits another level with Egyptian Sunrise, the song a sultry tango of exotic mystique upon the driving throaty bassline of Matt McGuinness and the swinging bait of Sweetman. Impossible to resist getting physically involved, the song leads the body a merry dance with the imagination caught up in the creative tones and lyrical incitement of Karlost. Also swathed in the equally suggestive invention of Gareth Frederik Ellmer’s guitar, the song is a mouth-watering exploit soon matched in creative theatre by Provocative Cat. Funky with Parisian hues, the song flirts and dances with ears as the bass masterfully groans and Karlost paints the imagination like a vaudevillian showman.

New single For Queen Marilyn comes next, sauntering in on a raw riff and rumbling beats as vocals spread their instinctive drama and ascending energy. Soon its rapacious rock ‘n’ roll is ablaze with intensity amidst a hearty roar, switching between calm and volatile waters before making way for Close The Gate. An encounter which seems to mellow as it reaches climactic moments and erupts when you expect it to slip into alluring calms, the unpredictable song is a twisted treat but one soon outshone by previous single U Ain’t Gonna Win This. An exploration of split personalities also making a “homage to boxing greats like Ali, and Rocky “, the song is a fleet footed shuffle with another deeply contagious gurning  bassline from McGuinness courting the vocal waltz of Karlost and band. Taking addiction to a fresh level, the track mixes sweltering melodies and grungy textures with sonic guitar splatters and a virulent carnival-esque bounce.

Hard To Resist is a matching enslavement of body and appetite, its lazy yet snarling bass swing and gripping croon just two of the irresistible elements in what must be the next single. The track is glorious, reminding of little know eighties band, Zanti Misfitz as it throws its creative temptation around. A slip into a deranged XTC like pasture only adds to the fun and increasing seduction too.

Another funk sculpted adventure follows in the shape of I Got Time; its Red Hot Chili Peppers like romp infused with a Talking Heads like prowess, while On A Fall sonically shimmers as the eager beats of Sweetman fuel the pulsating balladry of voice and Ellmer’s resonating guitar enterprise. Increasingly more provocative and gripping with every listen, the track is yet another thrilling twist in the varying style and sound within Swimming with Piranhas.

The album is brought to an equally exciting and inventive close by firstly Dr. No-Sense and its noir spiced and increasingly bedlamic intensity. It is followed by the similarly deranged but skilfully reined imagination and creative resourcefulness of I Caught You Wandering for a bewitching end to another superb offering from Japanese Fighting Fish. Swimming with Piranhas takes the band and their one of a kind proposition to a whole new plateau, not just for them but for the British rock scene. Why Japanese Fighting Fish is not a name on so many more eager lips already is a bit of a mystery, now they might just be with this beast of a proposal doing the persuading.

Swimming with Piranhas is released 17th June across most online stores.

http://www.japanesefightingfish.co.uk/    https://www.facebook.com/Japanesefightingfishuk   https://twitter.com/jffuk

Pete RingMaster 17/06/2016

Copyright RingMaster: MyFreeCopyright

WE-ARE-Z – Easy

Wearez _RingMasterReview

Yet again showing themselves the puppeteer of hips and funk in induced revelry, UK based indie poppers WE-ARE-Z release new single Easy this month, a song that pulls you to your feet to share moves probably best kept under wraps. The song is a virulently persuasive little number, something for ears to wear and inhibitions to depart for from a band making a habit of turning the world into an eager dance-floor.

Formed in 2012, the London based Anglo/French quintet merge individual experiences of playing with artists such as Beyonce, The Waterboys, Pharell Williams, and James Morrison with inspirations ranging from David Bowie, Serge Gainsborough, Talking Heads and Blur to The Clash, Devo, XTC, and Sparks. The band’s debut track Airbrush sparked potent interest in 2014 though fair to say Walkways the following year was the real attention grabber. With its success backed up by tracks like Knucklehead and a live presence which leaves everyone out of breath, you might say that WE-ARE-Z and their songs have become one of UK pop’s eagerly anticipated adventures.

art _RingMasterReviewThe new single pulsates into view, its initial electronic tempting soon joined by rhythmic throbs and vocal bait. The ripe coaxing, speared by the purposeful swings of Guillaume Charreau, increasingly grows as sultry hues caress ears, their lures aligning with a just as potent melodic and harmonic drama. In no time body and imagination are lost in the flirtatious and riveting theatre of the song with the dark rhythms, led by a gorgeously throat bassline cast by Marc Arciero, alone just irresistible. The keys and guitars of Clément Leguidcoq and Drew Wynen sparkle and dance as they entangle with each other around the ever welcoming and tenacious vocals of Gabriel Cazes, he like the ringleader to a band of sonic mischief makers with a delivery which simply lures the listener deeper into the party playing with their ears.

As with previous songs from WE-ARE-Z, our thoughts bring the likes of Shriekback and Franz Ferdinand coming to mind but also there is a touch of Sparks and Talking Heads to a song which, at the end of the day, really only sounds like another highly enjoyable and rather naughty WE-ARE-Z soirée.

Easy is released April 8th via Sputnik Records.

http://www.we-are-z.com/    https://www.facebook.com/WeAreZmusic   https://twitter.com/WeAreZmusic

Pete RingMaster 06/04/2016

Copyright RingMaster: MyFreeCopyright

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