Carnival Club – Magdalena’s Cape

Woven from the threads of numerous flavours which alone instinctively grab attention, the Carnival Club sound is a tapestry which certainly on the UK rocker’s debut EP, Magdalena’s Cape, blossoms from a rich first temptation to a lustfully devoured introduction thereon in. It is an infestation of the imagination nurtured in the creative mystique of prog rock, the hearty emotion of blues rock, the bold roar of sixties punk, and the hazy climate of psych rock. In truth, it is all that and more in a proposal and release which is as fresh and striking as it is the return of familiar sonic strains; an EP which offers the potential of a new essential force from within the ever pregnant Manchester music scene.

Emerging April 2016, the quartet of Eddie Moxon, George Peel, Joe Lodge, and Kai Jon Roberts quickly made a potent impression on the local scene. Now national awareness is being readied and stirred by the outfit’s maiden EP, its mature presence and rich web of sound belying the youth of its creators whilst consuming ears in an adventure bordering on the essential.

Opener House of Cards instantly entwines ears in one spicy groove, its psych blues tang soon aligned to the heavy throb of bass and crisply landing beats. Vocals make for just as potent bait as the song almost crawls into view before settling into a boisterous rock ‘n’ roll shuffle. With every groove and melodic tendril seemingly becoming thicker and richer in psychedelic/hard rock tenacity as impressive vocals equally grow in energy and presence, the EP quickly becomes a captivating proposal only increasing its grip as Mistakes Troubles and Kisses takes over.

The second track has a lighter touch compared to the heavy presence of its predecessor but an infectious swing built on pure rock muscle and emotive intensity. Its pop rock temptation is as much modern indie as it is seventies heavy rock, another fusion already revealing the kaleidoscopic canvas of the Carnival Club songwriting and sound. Its inescapably catchy body and unpredictable but fluid twists only seduce, passing on a willing submission to its bold charms to the following You’re So Hostile. It is a track even more virulently infectious with its eighties pop hooks and brooding rhythmic seducing which within seconds has the body bouncing and hips swerving with its flirtatiously weighty stroll while roaming the psyche like a blend of The Cult, My Baby, and The Doors; essences of Hendrix and goth rock only adding to its best track grabbing magnificence.

The EP’s title track steps forward next, Magdalena’s Cape a mellow caress wrapped in psychedelic wooziness and prog rock musing but with a tart spicing to its melodic  tempting, kind of like a distantly related fusion of The Jesus and Mary Chain and The Electric Prunes to try and give an impression of its sultry beauty.

Another mighty moment comes with the EP’s closing track, Headache a web of crunchy riffs and imposing textures around prowling vocals and stalking rhythms complete with sixties bred punk rapacity. Those stabbing riffs alone ignite the passions, the scythes of guitar and predacious grooves of bass escalating the primal attraction as the ever magnetic vocals seal the devilish deal on offer between song and listener.

It is a masterful and irresistible end to a just as successful release, one still carrying the potential of bigger, bolder, and greater successes ahead for Carnival Club. Magdalena’s Cape is the declaration of something mouth-watering and truly exciting breaking out within the northern music scene. With more of the same, national attention is surely guaranteed and with the realisation of the raw promise within, watch out world.

Magdalena’s Cape is out now through Demolition Diner Records as a digital download, on CD with an additional Ltd Gatefold CD version, and on Ltd Vinyl @ https://carnivalclub.bandcamp.com/track/magdalenas-cape

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

Pete RingMaster 16/05/2017

Copyright RingMaster: MyFreeCopyright

Waste Pipes – Fake Mistake

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According to bassist Lava, “Our history is in this record; the story of five kids who become adults unwittingly, beating harder and harder on their instruments.” Going by new album Fake Mistake, it is a history which has seen Italian rockers Waste Pipes embrace a web of varied inspirations and flavours in their own hard rock bred rock ‘n’ roll. Their ear grabbing full-length is a tenacious proposition in sound and energy, an encounter which will not be the most unique proposal heard this year but will be one of the most enjoyable.

Formed in 2003, the Rivoli hailing Waste Pipes soon began drawing attention and support with their live presence which over the years has seen the quintet share stages with the likes of Elio E Le Storie Tese, D-A-D, Meganoidi, Perturbazione, Thunder Express (ex The Hellacopters), Adam Bomb, Octopus, and Fabio Treves Blues Band amongst many more. A trio of EPs starting with Begin To Grow in 2004 also invited attention; Let Blood Boil in 2006 and Make A Move four years later pushing the band into broader spotlights within the Italian and European rock scene. With shows and tours across the likes of France, Switzerland, Germany, the Netherlands, and Slovenia now also under their belts, and the recent signing with Atomic Stuff Promotion for the promotion and distribution of their new album, Waste Pipes is ready to break even bigger spotlights with the pleasure giving rock ‘n’ roll of Fake Mistake.

Co-produced by Federico Puttilli (Nadar Solo) and mixed by Gianni Condina, Fake Mistake opens up with Headstrong. Straight away riffs and a throbbing bassline has ears attentive, their bait swiftly supported by the potent tones of vocalist Chris and the jabbing beats of Boe. The appetite igniting start relaxes into a more familiar hard rock stroll eventually, a presence equipped with enticing hooks and melodies though it is the eruptions of explosive energy and sonic confrontation which especially brings the song alive.

WP_Fake Mistake_cover_RingMasterReviewIt is a potent beginning to Fake Mistake more than backed by Fire Below, a track veined with the sonic and melodic enterprise of guitarists Kina and Guarro. Embracing blues and classic hues in its hard rock canter, it also slips into unpredictable moments of imagination to add further appealing spice to its body before Stay The Night provides a seventies scented melodic rock shuffle. Highly infectious in no time, the song swings and seduces with increasing adventure and individual craft, Lava’s great dark basslines the thick constant veining it all.

Three tracks in and the album is already showing track by track growing steps in adventure and variety, as well as impressiveness. The Loser Song is no exception; its magnetic body a weave of punk hooks, grunge melodies, and richly varied rock ‘n’ roll imagination. At times it seems to touch on Cheap Trick/ZZ Top like essences, in other moments more Houston/ The Cult flavoured mixes; it all colouring another inescapably highly satisfying encounter.

Chaos comes next, offering a melody strong tapestry of temptation over an anthemic rhythmic spine. As its flavours are broad, the song’s energy and aggression is a vibrant mix of intensity too, the song as at ease seducing ears as it is invading them with a physical hunger. It is captivating stuff instantly matched by For All The Time We Waste, a rousing stomp of blues and heavy rock with a spikiness as indie and punk as it is raw rock ‘n’ roll. Between them, the pair are the pinnacle of the album with the latter stealing the biggest plaudits.

The compelling Not Enough opens with a melancholy spiced coaxing before building up into feisty passages of energy and emotion, switching between the two contrasts throughout whilst adding further imaginative twists and turns with keys a great additive. Its healthy array of styles and creative spices is matched and eclipsed by the excellent Little Devils Scratched My Ears, another spirit and imagination rousing proposal whipping up eager involvement from the body too. Proving a creative buffet of blues grooves and sonic tendrils around catchy hooks and rhythms as Chris continues to vocally entice, the track hits the sweet spot for another highly memorable moment within Fake Mistake.

The album closes on the emotive flame of Bad Growing, a potent croon which might not have the same dramatic spark of other tracks but soon reveals its own dynamic canvas of imagination and adventure to fascinate and strongly please.

The song is a potent end to one highly enjoyable album; a release which only leaves pleasure strong and ears wanting more. A success anyone can take a shine to.

Fake Mistake is out now with promotion and distribution on all major digital platforms through Atomic Stuff Promotion and physical distribution by Andromeda Dischi.

http://www.facebook.com/Waste-Pipes-20325293369   http://www.atomicstuff.com/wastepipes.html

Pete RingMaster 04/05/20156

Copyright RingMaster: MyFreeCopyright

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Pale Fires – Mammoth EP

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Taking little time to excite but increasing its psychedelic seduction with every listen, the Mammoth EP from UK psych rockers Pale Fires, is a tenacious little offering which just does not let go even after it physically departs. With flirtatious hooks, transfixing melodies, and raw sonic temptation, the release grows from a flavoursome warm proposition into a glorious shimmering blaze over time whilst its creators show themselves to be a prospect to breed real anticipation over for their subsequent growth.

Formed in 2010, the Camden quartet of vocalist Leo Runswich, guitarist Oli Swan, bassist Harry Wreathall, and drummer Jean Stevens has built an eagerly followed presence across London and beyond, igniting audiences across venues such as The Cavern Club, 93 Feet East, The Purple Turtle, and Scala with their explosive set. Their EP Louring Skies earlier this year has equally wowed acclaim and support but it is with the Mammoth EP that a sense of something about to break for the band is truly inspired. It has a festering potency which as mentioned makes a strong first touch but continues to expand and enslave over time through six tracks which are as enthralling as they are fuzzily striking.

Opener River simply cups ears in a rhythmic enticing to set release and attentive appetite in motion before laying out a gentle scuzz lit stroll of guitar aligned to bass bred shadows and the distinctive tones of Runswich. Into its stride the song swings with a gentle melodic sway whilst guitars turn up the sonic heat in between the vocal coaxing. Runswich has a voice somewhere between Boy George and Brian Molko and increasingly impresses as song and subsequently EP immerses ears and imagination. There is not a real fire to the first song, at times missing the spark to ignite as expected, yet it is a smouldering temptation which dances with ears and passions for a highly enjoyable start to Mammoth.

The following title track offers a heavier toned bass coaxing from the off, its throaty bluster inciting a greater fiery breath in the guitars and their intensive sonic designs wrapping the excellent track. That wind relaxes for Runswich’s vocals Cover Art2caress before breaking tout again across the mesmeric heart and rumble of the track. A fuller sixties psychedelic wash and warmth flows through the song than in its predecessor, taking the listener on a sultrily glazed shoegaze infused harmonic flight. The song simmers feistily throughout, again never coming to a boiling point but flourishing in its temptation before the brilliant Peace Of Mind glides in. Once again shadows and melodic flames converge and merge around the senses, gentle grooves seducing as vocals invite subsequent sonic roars to join the irresistible slavery of the passions. When the track’s kindling does catch to set a fire, it is veined by superb guitar enterprise soaked in fuzzy and caustic beauty before drifting back into the mellow embrace of the song.

The Boat That Is Rowing Slow does not match the songs before and after it, though it is a skilfully crafted and presented slice of fuzz draped blues and Oasis like melodic balladry. With a sonic acidity to its climate and expressive elegance to its raw canvas the song does present a strong addition to the EP others will bask in but misses personal tastes here, especially when up against the closing pair of majestic sonic tempting.

First comes Howl, a slow burner of a song which almost yawns itself into existence before guitar and vocals stretch their melodic and harmonic abilities ready for the subsequent expulsion of their fiery psychedelic waltz. There is a sense of The Cult in their early days to the track in many ways, its predominantly instrumental adventure almost meditative and shamanic as it transfixes ears and imagination. It’s delicious presence is followed and matched by Earth Mother, a similarly captivating exploration of warm vocals and infectious radiance within this time an, and there is no other word for it, earthy landscape of unpolished and crystalline sonic hues draped in a melodic colour lit further by scorching sax and blistering guitar drawn flames.

Both tracks are scintillating, the richest creative tempting to bask and immerse in which over time becomes inescapable for thoughts and emotions, much as the whole of Mammoth. They make a ravishing end to a stunning release, one as said that only increases its strength and dramatic alchemy with each and every taking of its creative journey.

The Mammoth EP is available now as a name your price download and @ http://palefires.bandcamp.com/

http://www.palefires.com/

RingMaster 29/09/2014

Copyright RingMaster: MyFreeCopyright

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Jake Evans – This is Life

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This is Life is one of those tracks which just triggers the sweet spot, treats it to a masterful seduction of stirring rock music which lingers and simply grows with time. It is perhaps no real surprise that the new single from UK singer/songwriter Jake Evans is so potent and exhilarating with its following of his acclaimed debut single Easy On My Soul, as well as impressive musical history, but there is something in its heart and presence which catches the breath and imagination far beyond expectations. It is a stunning encounter, thrilling and laying down a teaser of Evan’s forthcoming first album Day One which is irresistible.

Macclesfield based Evans first come to the fore with Rambo & Leroy, earning a reputation and spotlight which took him to the attention of Bernard Sumner and his band Bad Lieutenant after the second demise of New Order. As the band’s co-front-man, guitarist and songwriter, alongside Summer and New Order band mate Stephen Morris (also New Order) as well as Blur’s Alex James, Evans increased his reputation within the band’s success which led to invitations to support the likes of Paul Weller, New Order, Johnny Marr and Doves’ Jimi Goodwin once emerging as a solo artist in 2012. Easy On My Soul was drenched in eager acclaim upon its release slotting nicely in with highly praised appearances at Festival No 6 and the iconic Jodrell Bank music festival. This Is Life is the next adventure and certain to open up a new depth of ardour for his impressively evolving creative persuasion.

The song is a tide of virulent hooks coming in varied shapes and designs, the first an immediate temptation as This is Life opens. A sonic Jake Evans a2486262845_10sigh lights the fuse to a weave of acidically melodic guitar bred hues which instantly recalls The Cult, delicious bait which subsequently embraces the shadows of Sisters Of Mercy too as a great throaty bass seduction and crystalline keys explore the imagination. Evans’ voice has a slightly grainy feel to his expressive tones which only adds richer colour and texture to the contagious enticement, his delivery holding a whisper of Paul Marsh of The Mighty Lemon Drops, as does some of the melodic suasion lapping around his voice. It is a gloriously fascinating proposition which only flourishes further through fine guitar coaxing and a steady but potent rhythmic framing to the smouldering intensity and passion of the song.

Those essences of eighties and nineties bands bring a familiarity to the song which only increases its contagion and appeal but equally there is an originality and invention which as mentioned at the start, fondles and incites an instinctive rapture to the impressive encounter.

It is impossible not to breed a healthy anticipation for the impending Day One from This Is Life alone but placed alongside Easy On My Soul expectations and hopes reach skywards, though you sense they will be well fed and pleasured by Evans when the time comes.

This Is Life is available digitally June 16th @ https://itunes.apple.com/gb/album/this-is-life-single/id879180547

https://www.jakeevansmusic.com/

9/10

RingMaster 15/06/2014

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James Stevenson – Everything’s Getting Closer To Being Over

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With a long list of notable and successful musical exploits on his CV, guitarist James Stevenson finally uncages his debut solo album, Everything’s Getting Closer To Being Over and a richly pleasing sultry slice of blues bred rock it proves to be. Hailing from London, the man has enhanced and fired up more bands, tours, and records than runs made by English batsmen this winter, but it is surprising in many ways that it is only now that his first full-length has emerged to make a persuasion, something it does with skilful ease.

Stevenson first made his mark when joining UK punks Chelsea in 1977, his addition to the band not the last time he would be called and thrust into the deep end when joining outfits over the years. Picking out some highlights on his long resume, Stevenson from playing on the band’s first two albums, numerous singles, and undertaking many tours around the UK and Europe, moved to featuring on Charlie Harper of the UK Subs first solo single Barmy London Army before joining Generation X. This was a short lived time as Idol a few months after quit the band to start his own solo career in the US. Stevenson then played in the emerging Kim Wilde’s backing band and formed Hot Club with ex-Pistol/Rich Kid Glen Matlock and ex Deaf School / Original Mirrors singer Steve Allen. Already we are missing out plenty of other projects and artists the guitarist was involved with to this point and will continue to as further choice moments in his career saw him after the band’s split joining Gene Loves Jezebel in 1985 to replace the band’s guitarist who had a nervous breakdown as their first US tour was underway. Filling in at the eleventh hour, Stevenson joined the band permanently at the end of the tour playing and helping write subsequent albums such as Discover, The House Of Dolls which contained The Motion Of Love, the band’s biggest UK hit, and Kiss Of Life which was released after the twins Jay and Michael Aston fell out and the latter departed the band. With the world of GLJ rumbling on with releases and messy disputes between the twins to simplify things, Stevenson also played with The Cult on their 1994 world tour, The Alarm on shows and recordings, on Gene October’s solo album which he also produced, and was part of the reforming of Chelsea.  This is just the surface of all the work Stevenson has been involved in over the years leading up to and around Everything’s Getting Closer To Being Over, shows and tours with The Cult, GLJ and The International Swingers which also features vocalist Gary Twinn (Supernaut), bassist Glen Matlock, and drummer Clem Burke (Blondie, Slinky Vagabond, Magic Christian), on-going adventures.

Stevenson’s album confirms and builds on the promise of the The Shape Of Things To Come EP which came out earlier this year, opening track Suzi’s Problem an immediate heat of tempting melodic flames and sizzling persuasion. The gentle blues rock swagger which drives its breath is a compelling enticement soon flourishing to greater effect with smouldering vocals and harmonies alongside shimmering expressive keys. The potent guitar style of Stevenson shines within the evocative textures woven to add to the impressive and riveting start, an introduction which is gently anthemic and magnetically absorbing.

The following Go Mister! takes things up another plateau, the initial guitar bred bait and coaxing vocals harmonies provided as across the whole album by The Sexpistilettos, a shadowy radiance. There is a definite gothic rock air to the song, a blend of Sisters Of Mercy/March Violets seduction with a punkier intent fused into a stirring melodic rock allurement. The song is a masterful and irresistible encounter which lingers and almost alone provides the album with a potential heady stature amongst the year’s wealth of rock albums.

Both the blues rich Twilight Riders with its great heavy nagging riffs and melodic passion, and the slowly burning Come On People stroke the imagination, the second finding a funk bred lilt to its tempting which is accentuated in Give It Up, a track which shuffles and dances with the emotions through agitated rhythms and exotic melodic enterprise from keys and guitar, not forgetting the ever mesmeric harmonies. Though the songs along with the emotive Why Am I Still Waiting For You and the equally evocative Been A Long Time Now, fail to find the heights of the opening few songs they leave a healthy appetite eager to feast on the album time and time again.

Another major highlight comes in the sinewed shape of Naturally Wired, a track sculpted with a deliciously growling bass and fiery sonic endeavour cast into a thrilling dark and absorbing stretch of intensive rock ‘n’ roll. There is also an air of hard and glam rock wrapping the grooves and glowing keys which only ignites the passions further as the heat of the track sizzles the air.

Completed by the gentle temptations of the title track and the acoustic led Been A Long Time Now, two songs which again give imagination and hunger enough to find strong satisfaction within, Everything’s Getting Closer To Being Over is a thoroughly enjoyable presence for ears and thoughts. To be fussy the vocals of Stevenson do not always manage to rival the sounds and there is a bigger leap between the pinnacles of the album and the other still magnetic tracks than one would wish, but the enjoyment it offers is full and long term. It may have taken time to get there but James Stevenson has made his debut album one to enthuse over and recommend wholeheartedly.

http://www.jamesstevenson.info/

8/10

RingMaster 10/12/2013

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The Cult: Choice Of Weapon

Southern Death Cult the band which first brought Ian Astbury to the attention was an immediate connection with my heart which only deepened with tracks like Moya, Fatman, and Apache. Upon their demise and the new team of Astbury and Billy Duffy linking to create The Cult, the attraction continued into their excellent debut album Dreamtime which spawned one of my all time fav songs Bone Bag. From this point though the evolution of the band and that of my tastes went separate ways and as their sound became grander and more rock orientated the appeal and previous attraction diminished. There were still moments where we met on a mutual level but more often than not all that was inspired was an appreciative nod and only fleeting attention given.

That was until with thanks to my friend Raymond, there was an introduction to the new Cult album Choice Of Weapon.  With limited expectations but mild intrigue due to the warm words he had given it, time came to sit down with the release and see if it lived up to his acclaim. With full surprise and an overwhelmed heart the answer is yes and more. The album is wonderful a release the word impressive is almost inadequate for. Choice Of Weapon rekindles the passion and in many ways returns to the instinctive partly tribalistic sounds that first drew us together. The album is not a throwback but seemingly the result of a revitalised and creatively fresh revisit to The Cult one longed for but did not expect to return is back.

The album has a less complicated textured sound than in previous years but is still distinctively and inventively skilled a release as only The Cult can ever create. Astbury is still the enigmatic performer and presence as he ever was but with a maturity and control which makes him even more formidable a vocalist and frontman whilst musically Duffy with bassist Chris Wyse, and drummer John Tempesta, bring a harder and less flamboyant enterprise to contrast and compliment perfectly.

Released through Cooking Vinyl Records, the album captivates from the very first stroke of the guitars across the ear on Honey From A Knife. Picking up an urgency spliced with exciting riffs and the group chants behind Astbury, the song storms the senses with a punk essence and infectious creativity. The pomp and overblown soundscapes often littering their releases are nowhere in sight, the song simply a striking piece of irresistible rock n roll.

The excellent start is backed up by Elemental Light and The Wolf. The first track is a full emotive pleasure which searches out and spreads like a contagious fever of invigorating pleasure. Recalling the band at their birth and with the melodic grace of The Mission, the song touches the nerve and emotion that first pulled them to the heart in the eighties. The second of the two songs is a coarser eruption of imaginative and firm intent, its melodic craft and enflamed breath leaving deep scorch marks of pleasure. As each song plays it assumes favourite track status such the strength of all and the album though it is impossible to truly choose.

The Bowiesque Life > Death is an enveloping ballad of power and intensity whilst the rampant Amnesia lays a stomp upon the ear which is as contagious as it is intimidating, both showing the full diversity within the album and the unique Cult sound. Astbury and Duffy are immense throughout the album but that can equally be said about Tempesta and Wyse both adding a depth and addictive menace to songs. The keys especially bring a fire and enveloping atmosphere to the songs adding extra invention and craft.

As the album works though one impressive track after another all continuing to enrich and incite thoughts and senses superbly we discover the likes of the excellent hypnotic Wilderness Now prowling with an ominous air and the closing The Night In the City Forever, a shadowed song exposing the underbelly of dark lives and worlds, to great pleasure.

With lyrics dealing with things like drugs and soured relationships on the album, Astbury is as cutting and expressive as ever and though no longer able to grab those explosive higher notes of yesteryear he has found a strong and more impactful range to enhance every song. Produced and recorded alongside Chris Goss with long-time Cult collaborator and producer Bob Rock finishing off the album, Choice Of Weapon is an unexpected and welcomingly outstanding release and easily one of the best albums so far this year. The Cult I know and love has returned and arguably is even better.

RingMaster 07/06/2012

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