Hackmonocut – The Sum Of My Parts

hackmonocut_RingMaster Review

A sultry swampland of immersive melancholy, noir kissed beauty, and bewitching almost sinister drama, The Sum Of My Parts is one of the major surprises that always spring up in a year. To fans of Austrian musician Hackmonocut, album and sound is probably an evolution to an already recognised alchemy from the artist but to newcomers, as us, the release is a spellbinding and mouth-watering surprise from the shadows, one of the essential adventures of 2015.

Hackmonocut emerged in 2012, spending months writing and creating his distinctive yet at times enjoyably familiar tapestry of sound and shadow bred emotion. Debut album, In The Land Of Basement Hobby Rooms, was released in 2013 and swiftly lured potent attention and praise which its single Virgin Suicide Bomber sparked to stronger effect. Whilst making the video for the track, Hackmonocut formed a live band whilst studio recordings as with the new album, remained a predominantly solo project. Now it is the darker presence and incitement of The Sum Of My Parts to seduce fiercer spotlights, which such its soulful power and haunting seduction it surely will.

The album opens with We Better Look Away and a scuzzy wash of riffs and tangy guitar tempting around dulled but concussive rhythms. Quickly there is a psych rock spicing oozing from the raw air, especially once the vocals of Hackmonocut begin pouring narrative and melancholy. The song equally has a punkish snarl to its reserved but invitingly swinging stroll, Doors meets sixties garage rock orchestrated by The Jazz Butcher a simple but potent description to the character and magnetic hues of the excellent start to the album.

Things turned much darker with Now which from its first breath slowly invades and blossoms in ears and imagination with its sorrowful elegance and imposing theatre. Gentle but rich hooks and melodies emerge and sparkle in the dark corners of the track whilst the dirtier fuzz lined play of the guitars entwines with emerging drama cast by the strings and ukulele of Mr. Woolph, who also play in the live band, across the absorbing landscape. There is a definite Echo and The Bunnymen air to the song also, one also embracing Nick Cave essences, both flavours which return in varying degrees across the album but only colours to something with its own identity and voice.

cover_RingMaster Review     The excellent Used Love rips the air next, a garage punk seeded snarl of a song growling round the ever riveting tones of Hackmonocut. This time a sense of artists like Inca Babies and Pete Wylie come to mind as the track twists and turns on a spiral of sound, energy, and invention. It is like a hex on the imagination, just as irresistible as the following Dead Born Sister. The new single, released the same day as the album, is noir cast seduction which glows with beauty and a tormented soul as it captivate ears and thoughts with its sublime craft and inescapable and tenaciously dark hug. Once more Nick Cave is an easy comparison, as also that of The Mission, but once more the man creates a unique croon painting a lingering sound and picture which breeds only addiction fuelled reactions.

The Ripper (Gimme Back My Love) follows with a similar tone to its dark smouldering of emotion and gothic hues. Blessed with the contrasting warm harmonies of Ella against the grainy tones of Hackmonocut, the song flickers and glows like a fire in the night, guitar and bass the eventful sparking in the shadow of the tribal rhythms additionally lit by flames of voices. Strings again add richer drama and potency to just one more peak in the increasingly impressing release.

Through the mesmeric dolor of Scarlet and the distorted scuzziness of Leech, the album continues to enthral, the first enslaving with its fascinating heartbreak through word and sound and the second with a harsher climate of blues and psych rock accompanied by mellow but flirtatious piano. Both, without quite matching those before them, grip attention and appetite before Love Letter slips into Doors meets Helldorado lamentation and soon after, to close up the album, Days Of Roses takes the listener on a flight of sweltering balladry and lost souls. Both simply transfix but the final track is pure dark seduction with grit in its attitude and tempestuousness in its air.

The Sum Of My Parts has an intimacy to it as potent as the resonating sounds shaping its body but also carries broader reflections across songs which, as the album itself, only grow and involve the listener more with every listen. This is a must for all dark rock ‘n’ roll and gothic rock fans, for those with a taste of any of the references mentioned, and really a treat for anyone which loves great dark music.

The Sum Of My Parts is available from August 14th.

Ringmaster 14/08/2015

Copyright RingMaster: MyFreeCopyright

The Slytones – Shake The Cage

slytones_RingMaster Review

There is no precise way to describe the rich sound of The Slytones and no way to stop it crawling under the skin and enslaving the psyche. This has been proven over previous releases but is at its most seductive and darkly magnetic in new single Shake The Cage. The song and the accompanying Thomas Thumb making up the release cast a kaleidoscope of ravenous flavours, styles, and warped imagination whilst their characters are as relevant to the carnival as they are to voodoo bred escapades. They both epitomise the heart of The Slytones sound whilst simultaneously creating their own new and unique imagination romancing adventures.

The British band began as a trio, expanding its line-up over time whilst quickly alluring keen appetites with their The Psychedelic Sounds of EP in 2011. It is fair to say that the Brighton hailing sextet of Ashley Edwards (vocals/guitar), Bradley Wescott (lead guitar), Chip Phillips (vocals/keys), Freddie Hills (drums), Chris Warren (vocals/bass), and Robin O’Keeffe (percussion) have drawn comparisons, in an attempt to describe their sound, as broad in the diversity of bands as the mix of ingredients colluding to ignite their individual incitements. There are few bands which can conjure such variety within a single song let alone a whole release, but as Shake The Cage proves it is child’s play to The Slytones.

The striking of a match sparks a fanfare of enticement, its blowing out the trigger to a feisty stomp built on ska clipped riffs and jazz seeded swing. Keys and guitars instantly have feet and hips involved whilst the dark tones of the bass along with the infectious hooks, simply work on the imagination. The track continues to stroll along with 12 Stone Toddler/ Mynie Moe like devilry, a flowing torrent of unpredictability lighting up and bewitching from every move taken before it all gets turned on its head for a garage rock prowl reminiscent of Th’ Legendary shack Shakers. Grisly barker like vocals leads the fresh parade of sinister carnival-esque flirtation, keys and rhythms an insatiable romp in the shadow soaked shuffle now toying with ears and brewing even thicker enjoyment. All the time the song is still weaving a virulent swing and psychotic drama, every passing minute an adventure of individual design with superbly woven styles but always leading back to the rich contagion of its original psych kissed and energetically rabid swing.

As if one irresistible treat was not enough, Thomas Thumb brings its own maze of ingenuity in sound and invention. Opening with a gospel seeded dose of harmonies and ambience around the leading edge of the main vocals and narrative, the song subsequently opens into mystique lined psychedelic scenery brimming with creative theatre and picturesque tempting. Like a blend of The Doors, Arthur Brown, Rocket From The Crypt, and Tankus The Henge, the song swarms over ears with invasive magnetism, every touch a slight evolution from the last before the track bursts into a sturdy garage rock canter which steers towards a Queens Of The Stone Age meets Faith No More/6:33 devilment.

Both tracks are glorious, a must for anyone with a taste for avant-garde and psychedelically warped adventure, but songs which flow with a natural and skilfully infectious, and wonderfully unpredictable, waltz. The Slytones is a carnival of invention, mischief, and most of all unstoppable fun so do yourself a favour and check them and especially Shake The Cage out.

Shake The Cage is out now.

Dates for The Slytones and Moulettes tour this September! :

16th September                   Southport                     Atkinson

17th September                   St Helens                       Citadel

18th September                   Halifax                           Square Chapel

19th September                     Morecambe                  Hothouse

20th September                   Ramsbotton Festival   Manchester

http://www.facebook.com/theslytones    https://twitter.com/theslytones

Ringmaster 01/08/2015

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

 

Venice Trip – Look Forward EP

Photo Cred Kamila K Stanley

Photo Cred Kamila K Stanley

As the summer heats up so does the wealth of smouldering and sultry sounds on offer, and possibly none as bewitching as those unveiled by UK band Venice Trip within the Look Forward EP. Bringing three songs which are fuelled by the breath of late sixties/early seventies psychedelic rock and cultured in a modern imagination, the release is a striking and captivating introduction to the London quartet which more than lives up to the buzz already arising from the band’s live presence.

Fresh from making an acclaimed appearance at The Great Escape in Brighton, the foursome of vocalist/guitarist Andrés Alcover, keyboardist/vocalist Shenny, bassist Nick GK, and drummer Joe Wood immediately has ears aflame with the EP’s title track. The opening song emerges on a feisty shuffle of rhythms and wiry riffs but it is the tangy melody which has the imagination and appetite especially drooling, its sultry shimmer and inescapable lure the lead into a rich seduction of vocals and melodic enterprise. Beats continue to cast an anthemic lure whilst a sixties glazing captivatingly coats vocals and melodies, everything uniting in a contagion which sublimely engulfs body and passions. There is no escaping a sense of The Doors to the track, but equally there are essences bred in artists such as Small Faces, Syd Barrett and more currently MGMT, as well as surprisingly a potent feel of eighties band Associates at times. The song is sensational and a dramatically thrilling start to the release.

Ep cover_RingMaster Review The following Oh Katy is a gentler caress of energy though no less infectious with its evocative grooving and glowing harmonies. The psych pop resonance of the song sizzles on the ears, its spatial tempting grounded by the just as riveting and effective melancholic bass lures amidst thick swipes upon drums. Whereas the first song has a tenacious and broad sense of life and energy, its successor offers a more intimately emotional and personal presence with a just as transfixing and intoxicating tapestry of sound. It also has a slight whisper of Arctic Monkeys to it, though again the main scent of the track is soaked in psychedelic rock from across the decades.

Look Forward closes with Father Of The Universe, another song revealing fresh depths and variety to the band’s sound. From its opening seconds it flirts with a delicious garage punk like lure, the kind of dark and psyche twisted bait which graced the likes of The Cramps and The Orson Family. Swiftly infusing more Jim Morrison and Co like acidity into its alluring grooves and an increasing seduction of keys, the song blossoms into a dramatic, bordering on psychotic waltz of creative and vocal adventure where shadows and beauty collide and collude within increasingly tempestuous character.

It is a fiery blaze bringing a superb encounter to a mighty end. With the only moan about the release being it is far too short for greedy enjoyment it feels quite safe to say that Venice Trip is going to be a major part of many musical lives and quite likely the British rock scene ahead.

The Look Forward EP is available now via RYP Recordings @ https://itunes.apple.com/gb/album/look-forward-single/id1003281940

http://venicetripmusic.com/   https://www.facebook.com/venicetripmusic

RingMaster 03/07/2015

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

Rooster Cole – More Than You EP

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If you had to choose one word to describe the music of Rooster Cole it would have to be dramatic. Given a couple more to use then evocative and spellbinding would be next in line. As evidenced by recent debut single More Than You, the band’s sound and presence is pure aural theatre, transportation to sultry and emotional adventures which simply seduce ears and imagination. Now a four track EP with the last single as its title track has been unveiled to declare Rooster Cole as one of the most exciting and magnetic propositions in the British music scene today.

Rooster Cole is the solo project of Black Black Hills frontman Mark S. Aaron, a band itself igniting the music landscape before seemingly going on a hiatus. With a sound described as Bluesman Mariachi Soul, hard to think of a more accurate description either, Aaron unveiled a couple of songs last year to whet the appetite before releasing, as mentioned, his first single a few weeks back. It was a song which not only expanded on the potential of those early tasters but opened up a new web of intrigue and promise which now the EP has been taken to even greater depths and thrilling exploits.

MORE THAN YOU EP blue     The EP opens with Up To The Teeth and swiftly with its spicy caress of guitar and more sombre bass tone, has ears alert and the imagination intrigued, especially when the expressive drama lined vocals of Aaron begin the narrative. Only a few seconds in and a swarthy climate soaks the senses and song whilst a spicy flavouring spills from the melodic enterprise of the guitar and an evocative tang seeps from the keys. Its ambience is just as humid and provocative whilst vocally Aaron paints a potent picture for thoughts and emotions to embrace. His voice and presence is pure magnetism, as his songwriting and musical craft, and imagining Nick Cave and Roy Orbison as one unique person will only take you closer to the impact and qualities of the man. For all its shadowed feel and dark drama there is catchiness to the song which is just as gripping, its chorus especially magnetic with its melodic and vocal roar.

     More Than You steps up next and from its first breath has the listener under a sweltering sun scorched sky, a Tarrantino meets Morricone ambience colouring the broad yet intimately suggestive soundscape of song. It is exotic in air and rousing in touch but equally with discord lined sonic winds also bringing their temptation, the track is an unpredictable and compelling adventure. Aaron once again croons ears into submission, every word and syllable a conjuring of the imagination with his distinct and mesmeric delivery; if there is a finer descriptive and evocative vocalist right now we cannot think of them.

Whereas the first two songs are gentle immersions, even if each also brews stirring and intoxicating crescendos, third track River Deep strolls in on an immediately lively swing and energetic shuffle. The sway of the song is simply hypnotic and the rhythmic enticement a lure to listener involvement in feet and body. Thoughts and emotions are in turn taken care of by the voice and rich melodic enterprise of Aaron, aided by the feel of eighties bands like Heaven 17 in the feisty pop energy of the song. As always, Rooster Cole songs are a blend of light and dark and the latter, with its bluesy rock embrace, offers up The Doors and Bernaccia like whispers, though it all emerges as one unique Rooster Cole emprise.

Final song Evelyn is a ballad of haunting emotion and beauty, an inescapable magnet for ears and unbridled seduction for the imagination. Strings caress the senses with their melodic croon whilst Aaron strokes thoughts with every line of the dark romance, it all gently prowled by the throaty tone of the bass. Brief but sending a tingle down the spine, the song is a glorious end to a stunning release.

Aaron had us awoken to his voice and songwriting with Black Black Hills, further impressed and excited with his recent single and now lustfully inflamed through the More Than You EP. Rooster Cole is now on course to be the future of dark mournful rock ‘n’ roll.

The More Than You EP is out now @ https://roostercole.bandcamp.com/

http://www.roostercole.com/     https://www.facebook.com/roostercolemusic

RingMaster 30/04/2015

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

 

The Strangler Figs – Attack Of The Strangler Figs

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Having been seduced by the decidedly warped drama and infectiousness of their recent single Attack Of The Strangler Figs, there was no option than to next look at the EP of the same name . The result of talent and imagination in collision with creative mischief, the offering is the thrilling work of UK art rockers The Strangler Figs. It contains three songs which seduce ears and thoughts alike, a trio of carnivalesque adventures creating the kind of warm devilry which would suit a Tim Burton soundtrack.

The folkish theatre, almost circus like character to the band’s music has its seeds in the psychedelic rock and visual feast of Circus Maure, which band founders, vocalist/guitarist Joe Pickering and double bassist Joel Hanson were previously a part of, touring the likes of Europe, Israel, and Canada, where it headlined the Just For Laughs Festival in Montreal for seven nights in a row. Their time there also saw the pair writing together, before leaving and uniting to form Leicester based The Strangler Figs. Weaving in inspirations from the likes of The Doors, Radiohead, Muse, and David Bowie into their evolving invention, the band swiftly lit up the local live scene, their first year together marked by headlining Oxjam and playing the biggest festivals in Leicester. EP and single has helped begin the spread of their presence and reputation much further afield, awakening media and fan attention on a broader scale and as the EP opener alone plays with ears and thoughts, it is easy to see why.

10419942_1592620724306431_4813869709891100291_n   The title track opens up the festivities, a lone reflective guitar around the individual voice of Pickering the first intriguing act of the song. They are immediately joined by a warm caress of keys cast by Freddie Pickering and slow evocative beats from James Lyons. With most of its elements in place and the narrative bringing theatrical colour, the song lifts up its knees and starts a lively stroll through ears and across the imagination. A little jazzy, a little funky, and a lot seductive, especially with the backing vocal lures of Rosie May Price adding to the inviting hues, the song unveils an agitated adventure of sound and ideation. Thoughts of The Jazz Butcher whisper loudly from this point on, and indeed The Strangler Figs sound definitely has a potent elements of the eighties artist to its playful resourcefulness. The song is in full contagious mode in no time, inciting feet and voice to join its devilish merriment.

The great start continues with Help me Please, the song also starting with a gentle kiss on the senses but reaching a more vivacious gait within a few more seconds. The tempting of organ and guitar, both provided by both Pickering brothers, unite in a simmering aural tale of drama and shadow wrapped emotions, this matched by his voice and the dark feel of the narrative. With mini crescendos which just grip the body, the song ebbs and flows in energy whilst stirring up the passions with its unpredictable darkly hued majesty; though do not mistake the song for anything other than a vibrant stroll of folk pop revelry. Think Tankus The Henge meets Mojo Fury and you get an idea of its excellence in sound and enterprise.

The EP closes with Hugga Wugga, an immediate seduction of noir lit textures and theatre led by the excellent throaty lures of Hanson’s double bass. Keys and beats soon align for an exotic shuffle whilst guitar and voice bring a snarl to the party, tempered by the siren-esque backing vocal smooches of Rosie May Price. Once more as the song flirts and swerves around within its jazzy landscape, an eighties essence licks ears. Whereas The Jazz Butcher raised its hints before, and does a little here also, Zanti Misfitz springs up in thoughts as the track ignites the imagination. Just light whispers but enough to give a nudge of the lesser known band.

The song is glorious, as is the EP. There is no wondering why the band has caught the attention and eagerness around their home city, just of how far the band can spread their charm and how soon. A long way and swiftly is our suggestion sparked by Attack Of The Strangler Figs alone.

The Attack Of The Strangler Figs EP and single is available now at most online stores.

http://www.stranglerfigs.com   https://www.facebook.com/thestranglerfigs

Upcoming live shows…

Orange Tree, Leicester – April 30th

O2 Academy, Birmingham – May 1st

Riverside Festival – Leicester – June 6th

RingMaster 25/04/2015

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

 

Kobadelta – Open Visions

Photo by Daniel Robson

Photo by Daniel Robson

Blending the rousing elements of their second EP and the mesmeric seducing of their last, UK psyche rockers Kobadelta unleash their finest moment yet in the hauntingly irresistible shape of Open Visions. The EP provides a feast for ears and imagination to contemplate and devour in their individual ways, its clutch of songs almost hex like in their immersion and seduction of both. Within its arcane charm the band also reveals a greater maturity and inventive lust in songwriting and sonic explorations, Open Visions the simply irresistible dark side of the band’s creativity and the listener’s psyche.

Newcastle bred and formed in 2010, Kobadelta did not take long to arouse a potent following and local clamour for their sonic swelter of a sound and matching live presence. 2013 Debut EP Ritual (Time Flies) lit more than a few fires in ears and thoughts, which the following year its successors Hidden Door and Remain Distracted, took to stronger and broader levels with their compelling sounds. It is fair to say that 2014 was a big year for the band in general. The release of the two EPs surrounded by further successes with Kobadelta being invited to perform a live session for BBC Introducing, headlining the Tanners stage at Evolution Emerging Festival in Newcastle, and playing events like Stockton Weekender alongside artists such as Peter Hook, Public Enemy, and the Happy Mondays as well as the Split Festival with the likes of The Cribs, Maximo Park, and Dizzee Rascal. Support slots for bands such as Temples, Allusondrugs, We Were Promised Jetpacks, Demob Happy, Splashh, The Temperance Movement, The Weeks, Lola Colt, and The Voyeurs, amongst many more has only increased their reputation and stature too. Now it is the turn of the Open Visions EP to push the Kobadelta cause and as we say, it is irresistible.

a0352850419_10   Even The Odds (They Mean You No Harm) is the first track on the release and immediately brings a raw and fiery proposition to bear on ears and thoughts. Guitars and rhythms make a formidable invitation which is easily accepted, even more so when an underlying melodic lure is given clarity as the initial tempest relaxes and the expressive tones of Dom Noble come in. There is still a muggy air to the song, and a siren-esque shadowing to the track which with the exotic enterprise arising from the guitar of Alex Malliris and the keys of Jordan Robson, entices like The Doors meets The Birthday Party. The song continues to immerse and swallow the senses with its sultry almost erosive beauty, increasing its glamour as it heads towards the moment it slips seamlessly into the following Blame It All On Me.

The second track is simple bewitchment from its first caress, smouldering melodies flirting with ears whilst being stalked by the throaty bassline of Jon Marley. The ticking percussive framing and rhythmic probing of drummer Chris Malliris adds intimidation to the dark premise of the song but it is the flowing melodic seducing of the keys and more unsettling designs cast by the guitars which shape the compelling drama emotively coloured by the distinct tones of Noble. There is a touch of Bauhaus to the post punk essences swimming within the psyche rock contagion whilst the gothic rock shading again springs hints of Nick Cave and co.

A fresh shimmer flows across Maskirovka next, keys and guitars a floating haze of sonic suggestiveness whilst bass and drums create a more formidable incitement which erupts with greater intensity around the climatic crescendos posing as choruses. There is something occult like in the dark rock toxicity oozing from the walls of the song and imagination of the band, an essence breeding encroaching shadows which infest and linger in ears and psyche.

The infectiousness kicks up another level with Watch What You’re Doing, its open caress of guitar the seeds for another compelling bassline and crisply landed beats to work their addictiveness as vocals and keys bring a haunting colour. Once into its magnetic stroll, the song shows itself to be as much pop rock as it is dark rock ‘n’ roll, its catchiness as captivatingly accessible as its soaring sonic enterprise is celestially provocative and darkly fascinating.

Ithaca ventures into an even heavier soundscape but swiftly tempers some of its daunting air with an echoing effect on the ever alluring vocals and backing harmonies, whilst guitars and keys sway and smother the rhythmic spine of the song with the dance of a sonic temptress. The song is pure mesmerism but with an underlying danger which seems to incite richer flames and piercing textures to emerge in the invention of Alex Malliris and Robson.

Final track Black Pyramid, like the first, accosts ears with a slightly caustic and hazy roar of sound but is soon casting an invasive exotic atmosphere through guitars and keys. Eruptions of energy and intensity only add to the sweltering air and impact of the song, whilst melodically and vocally, there is again no escaping a reference to the Jim Morrison’s led band.

If like us you fell in love with Kobadelta’s last EPs, then lust is the outcome with Open Visions, the pinnacle of the band’s sound and invention to date. If new to the transfixing world of the band, then a wealth of dark sultry treats await.

Open Visions is released on May 1st and available via http://kobadelta.bandcamp.com/album/open-visions-ep

Upcoming Kobadelta shows, including EP launch…

Friday 1st May – Think Tank? Newcastle (‘Open Visions’ EP Launch)

Saturday 30th May – ‘Sonic Union #2’ at The Sun Inn, Stockton (with TOY)

Saturday 11th July – Corbridge Festival 2015 (Acoustic Stage)

Friday 24th July – ‘Double Denim Live’ at Verve Bar, Leeds

https://www.facebook.com/Kobadelta

RingMaster 27/04/2015

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

Earthist – Lightward

Earthist Official Photo

Hailing from Italy, alternative rockers Earthist have announced themselves on a wider landscape with a debut album which is full of surprises, invention, and most of all thoroughly enjoyable encounters. Lightward has moments where things are not as imposingly convincing as in other thrilling parts but from start to finish it is fair to say that the Parma quartet has presented one captivating, potential drenched introduction.

The band was formed in 2012 by young musicians whose ages (20 to23) are a deception to the maturity of their invention and sound. Drawing on a diverse array of influences and flavours to spice up their own imagination (folk, progressive, and Britpop amongst them), Earthist swiftly found eager support in their homeland for their Now. Here. Or Nowhere. EP of 2013, which in turn helped open up opportunities for the band to spread out live and subsequently play alongside numerous other emerging and better known bands from within and outside of Italy at important festivals. A critically acclaimed feature film by Emanuele Valla called Dreaming Alaska also featured some of the band’s songs, but now with the worldwide release of Lightward via Epictronic, the foursome of Federico Ronchini (lead vocals / guitar), Francesco Parrino (lead vocals, keys), Giacomo Giuffredi (guitar / backing vocals), and Alberto Tanara (drums) are knocking on broader attention, and with its unpredictable invention and smiling imagination it is easy to suspect potent success coming their way.

Opener Not Today is a swift melodic anthem in the ear, its rhythms and riffs a sturdy initial wall of tempting within which keys dangle bright temptation. A great bassline emerges from a following calm, its throaty lure in thick contrast to the just as engaging vocals which if you did not realise the band was Italian give no real hint to the band’s nationality. As the song’s shadowed but summery stroll continues, guitar and keys offers sparkles of light hooks and teasing enterprise over the stirring core drive of that bass and accompanying similarly intensive riffs. The band has been compared to the likes of Biffy Clyro and Mumford and Sons and it is easy to see why, especially in reference to the first of the two in this track alone.

Earthist _ Lightward   The following Miracle moves into view with a coaxing of jagged chords before inviting crisp beats and another dark throated and catchy bassline. Emerging as a flavoursome slice of indie rock it also has a pop punk air to its chorus and aligning vocals, whilst across its whole length the song almost teases with its busily creative nature. The same can be said of Sirens Sing within its own unique presence. Creaking wood is a suggestive start to the song before an acoustic caress of guitars and growing melodies across keys and strings snuggle provocatively upon ears and imagination, each voicing the haunted romance of some kind inside the track’s elegant presence. The song, as the album, increases its potency and appeal with every listen, blossoming from an enjoyable first encounter to another peak within the album.

A spatial atmosphere instantly engulfs the senses and next song The Astronaut, keys a celestial breeze from which the song suddenly slips into an energetic and vivacious indie pop romp. Hooks gleam as they take and sonic endeavour shines as it entwines the infection posing as a song. Like a mix of Super Happy Fun Club and Good Charlotte, nineties and more current essences collude for a fiery anthem, inciting a new flush of hunger in the appetite before Brighter Later and after it Fox When The Night show another twist in the nature of the release. The first of the two is a rock pop serenade with a feisty heart and lively tenacity whilst the second with an equally lusty energy, explores a more new wave/indie inventiveness. Neither quite lives up to the previous songs yet each provides moments of richly pleasing ideation in a constant feel good proposition, the second of the two especially engaging a smile of satisfaction.

Classically seeded keys and a great earthy bass tone make Step Out Of The Shade an especially flavoursome proposition next, though the great vocals and a Beatle-esque whiff to the chorus certainly help its appeal too, whilst Helicon straight after, is another slow to light the emotions encounter. To be honest it never quite finds the spark needed to truly excite but enjoyment is never in doubt whilst in its increasingly tempestuous company. Neither song can match up to Jolly Roger (A Pirate’s Tale) though, the track from its opening boot on wood rhythmic march gripping body and thoughts. It reinforces the opening gambit with a radiant piano coaxing and a guitar crafted seducing. Vocals again impress and add new texture and quality, their joyful swing matching the shanty like swagger of the track. Bass snarls and folk revelry only colour the full blooded adventure further, all alluring hues going to make the pinnacle of the album. Revealing yet another new facet to album and songwriting the band’s imagination shows an experimental side easy to hope they explore much more ahead.

Sealance (In My Eyes) provides a raucous flight of radiant keys and thumping rhythms within an intensive sonic embrace next whilst Time For A Fight manages to weave strains of Muse, The Doors, and Weezer into a blustery and again increasingly magnetic collusion of sixties, seventies, and a more current festivity. Their satisfying sounds make way for The Lighthouse, a more than decent close to the album with a Coldplay like croon within a lively simmering melodic landscape. Like its predecessor, the track pleases without setting fires yet each have something within their presence which is nothing short of pleasing.

The album is a treat of a first glimpse into the creative world of Earthist, a realm sure to only grow and breed new thrilling experiments and creative emprises ahead. We for one cannot wait and suggest fans of melodic contagion do not either by taking a punt on Lightward right now.

Lightward is available now via Epictronic/Plastic Head Distribution LTD @ http://www.plastichead.com/item.asp?ex=fitem&target=EPIC005 and https://itunes.apple.com/gb/album/lightward/id958116679

https://www.facebook.com/Earthistmusic

RingMaster 31/03/2015

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://reputationradio.yooco.org/